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Rapid Fire 20Q with cast of ‘The Cake’; regional premiere at Nashville Rep October 21-30

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Directed by Lauren Shouse, 0pening Friday, October 21 and running through Sunday, October 30, Nashville Repertory Theatre presents the regional premiere of Bekah Brunstetter’s The Cake at TPAC’s Andrew Johnson Theatre (505 Deadrick Street). While perhaps best known for her writing and producing duties on the popular NBC drama, This Is Us, which garnered her and her fellow producers three consecutive Emmys from 2017-2019, Brunstetter’s also enjoyed success as a playwright. Her previous stage plays include: F*cking Art, Miss Lilly Gets Boned and Be a Good Little Widow. From the titles alone, you might surmise that the playwright pulls no punches. The Cake, which premiered in Los Angeles in 2015 and featured That 70s Show’s Debra Jo Rupp, with is simple sweet title and all, just might follow suit, considering the play was inspired, in part by her own father’s opposition to same-sex marriage and the headline-making Supreme Court case of Masterpiece Cakeshop vs Colorado Civil Rights Commission. The Cake centers ‘round Della, a kind, but conservative North Carolina baker who finds herself at an unexpected conscience crossroads when her goddaughter returns to her small town to ask Della to bake her wedding cake…for the wedding to her fiancée.

When I learned that one of my theatre crushes, Megan Murphy Chambers was heading the cast, I knew I had to chat with her and her co-stars for the latest installment of my recurring interview feature, Rapid Fire 20 Q.

RAPID FIRE 20Q WITH CAST OF NASHVILLE REPERTORY THEATRE’s THE CAKE

RAPID FIRE WITH MEGAN MURPHY CHAMBERS, DELLA IN THE REP’S THE CAKE

JHPEntertainment:  Tell me everything we need to know about Della, the character you play in The Cake, The Rep’s latest production…

Megan Murphy Chambers: Della is a beautiful challenge.  There are elements of her personality that are so easy for me to access – she’s friendly, enthusiastic, authentically interested in people, and loving. The acting starts when her deeply ingrained but rarely examined belief system stops her from showing an adored friend the respect and love they deserve when they need it most.  There’s not an intentionally mean bone in Della’s body, but she’s short on backbone (mean or otherwise). I like to think about what might transpire in the 6 months after the play is over for her.  I have high hopes for her, and her capability to open her heart and mind.

JHPEntertainment: While researching the show to prepare these questions for you and your fellow cast mates, I found the opening monologue script on line. During which, Della explains that you must follow the recipe exactly to ensure the perfect cake. This seems to pretty much lay out the thought process behind her character’s way of life and decision-making. A a general rule, are you yourself a recipe follower, a recipe adapter or a recipe creator? Feel free to answer this as it relates to the kitchen, or life as a whole.

Megan Murphy Chambers: Oh I am a recipe adaptor for sure.  I’ll follow the directions enough to make sure whoever I’m feeding doesn’t end up with a plate of undercooked chicken, but in terms of the rest?  All bets are off!  I like cooking more than baking precisely because of the greater degree of freedom you have. And the greater degree of garlic.  In life, I tend to be a rule-follower and people-pleaser, but that tendency lessens every single day. Which feels wonderful, to be honest.

JHPEntertainment: Now, I know you graduated from the University of Missouri, which, depending on who you ask, is either the midwest, or the south, and you’ve been in Nashville for some time now. Have you met any real life Dellas and might we see hints of them in your performance?

Megan Murphy Chambers: First of all, MIDWEST. I will not be taking questions at this time 🙂   I’ve lived all over the country, and have met Della-ish people everywhere.  People with huge hearts that are coupled with years of a certain kind of shame and pressure.  I carry pieces of some of them on stage every night, all of which help make her colorful. This one’s unfailing politeness, that one’s hypervigilance about “outsiders”, another one’s casual affection.

JHPEntertainment: From what I know, Della, though she is staunchly faithful to her convictions, isn’t made to appear the villain in this piece, but rather a sympathetic product of her environment. Is that a fair assessment? Why or why not?

Megan Murphy Chambers: Definitely a fair assessment.  The brilliance of this writing means that throughout the play, we’re given reasons to root for every character, and reasons to feel disappointed in every character.  Della maybe most of all.  In my heart, I’m certain she’s making the wrong decision.  But the generations of voices that echo in her head all day every day make it challenging to blame her in any simple way.  We want to like her. We want her to do better.

JHPEntertainment: The show is titled The Cake, so I gotta know…do you have a sweet tooth? If so, what’s your favorite kind of cake? If not, what do you snack on instead?

Megan Murphy Chambers: I do indeed have a sweet tooth, but it’s not as powerful as my salt tooth. Cake is scrumptious, and it’s all I’ve thought about for the last month. I either want a spice cake with vanilla buttercream, or a classic Duncan Hines yellow cake from a box (don’t tell Della it’s not from scratch).

RAPID FIRE WITH CHRIS STRAND, TIM IN THE REP’S THE CAKE

JHPEntertainment: Alright, I tried not to gush while chatting with Megan, but just between us, how lucky are you to share the stage with one of my theatre crushes?

Christopher Strand: Very lucky! Megan is the heart and soul of this show and takes the audience on a hysterical and heartbreaking journey all at the same time- she can make you laugh out loud one minute and cry crocodile tears with her innate vulnerability the next- honored to share the stage with her!

JHPEntertainment: How would you describe Tim?

Christopher Strand: Tim is an amiable good ol boy who just happens to be a product of his upbringing and social environment- his beliefs have most likely been formed by his religious upbringing and casually soaking up Fox News and Incendiary right wing radio over the years- still he loves Della deeply and is a good hard working man who just happens to use food and humor as a substitute for the lack of  Intimacy in his marriage.

JHPEntertainment: In researching to chat with you and your cast mates, it seems to me The Cake playwright, Bekah Brunstetter’s approach of using humor to spotlight a rather serious topic might have roots going back to classic sitcoms like All in the Family and The Jeffersons. Am I anywhere near close in that comparison? And why do you think that works?

Christopher Strand: Yes I think you’re close! Because even though Della and Tim are rather rigid in their beliefs , they are lovable characters , which persuades the audience to go on a sometimes  difficult emotional journey with them- much like Archie Bunker , the audience is able to laugh at or with their imperfections and narrowminded-ness without necessarily agreeing with them!

JHPEntertainment: Are you a cake or pie guy in real life?

Christopher Strand: both unfortunately ! love most kinds although it may be somewhat unAmerican but I can’t do pumpkin pie sorry! banana cream, pecan pie, any kind of fruit pie- shoot I guess I am a pie guy!

JHPEntertainment: What’s one of your favorite lines in the show…yours or that of one of your fellow cast mates?

Christopher Strand: Jen says ” I don’t need you to make me a cake , I need you to LOVE me!”  to me that sums up the show as much as one line could if possible

RAPID FIRE WITH MARIAH PARRIS, JEN IN THE REP’S THE CAKE

JHPEntertainment: What was it about the role of Jen that moved you to audition?

Mariah Parris: I had seen Lauren’s work before and knew working with her would be awesome, if given the chance. I was also excited to potentially work on a script with such a contemporary voice. I’ve never had the pleasure of working on a character so close to myself and feeling like I could bring so much of my own “isms” to the performance.

JHPEntertainment: As Jen, you share scenes, and an on-stage relationship with Maya Riley. You both appeared in The Rep’s Ragtime earlier this year. What is she like as a scene partner?

Mariah Parris: Maya and I used to do theatre together when we were little kids at Metro Parks with Carolyn German, and reconnected as adults when we both worked on Ragtime. We discovered that we still get on like a house on fire, so the biggest challenge with working with Maya has been to not interrupt rehearsal by laughing too much. She is an awesome scene partner and friend.

JHPEntertainment: While the show touts a cast of only four characters, there’s really a fifth, isn’t there? Care to give me an exclusive…who’s providing the voice of George, the reality show judge who’s only heard in voice-over?

Mariah Parris: Jonah Jackson is brilliant as the voice of George. He is a very accomplished and talented stage performer (last seen in The Rep’s Mary Poppins) and I’m so glad he’s getting a chance to show off his voice acting chops!

JHPEntertainment: As a kid, my birthday cakes were always a thing to behold as Mom would get the craftiest cake decorator around to recreate thematic delights featuring whatever my current obsession was, including, but not limited to: Star Wars, a Grease (the movie, not the frying additive) logo cake, a sheet-cake featuring the likeness of Miss Piggy and in my later years, as I began collecting Lucille Ball memorabilia, more than one cake decorated with classic images of I Love Lucy…Did you have theme-decorated cakes? If so, what was your favorite?

Mariah Parris: My lovely mom and dad went all out when I was a little girl- one year Barbie, one year Barney, and I’m sure there were many others though the memory escapes me now.

JHPEntertainment: Is there a moment in the show you think audiences will remember after leaving the theatre?

Mariah Parris: there are several beautifully emotional moments in the show that will resonate with different people, and it is my hope that each person leaves feeling like there was a moment that resonated with them specifically that they’ll never forget. Personally, I’ll never forget MMC hand feeding me carrot cake on stage—what a treat.

RAPID FIRE WITH MAYA RILEY, MACY IN THE REP’S THE CAKE

JHPEntertainment: This has been quite a year for you. You’ve just wrapped your fabulous starring role as AIDA, a performance everyone was raving about. Of course you started the year in Nashville Rep’s Ragtime and now you’re back at The Rep in The Cake. How excited are you for this momentum in your career as a performer and how are you keeping it going while keeping yourself grounded?

Maya Riley: Thank you so much! It’s been quite an unexpected journey, because I had planned to stay in New York City after graduating from NYU. I was just starting my career there when COVID hit, and after the theatre world basically stopped I moved back down here. I’ve really just started to get back into performing, and I’m so grateful that things are opening up again. Being back in Nashville feels right. I’m surrounded by family and friends that I love. It blows my mind that I get to do this work. The little kid in me is squealing every day. Just in the past few months, I’ve gotten to work alongside people in this theatre community that have taught me most of what I know: how to act, how to sing, how to dance, how to be gracious, how to be hard working, how to be professional. Performing beside some of them as a colleague, as well as sharing the stage with Broadway stars in AIDA, is a great gift. And performing at TPAC twice in a row? That’s almost as good as Broadway. I’m learning so much about myself, the craft of performing, and the industry. I’m just trying to soak in everything and take it one day at a time.

JHPEntertainment: What was your reaction to first reading the script for The Cake?

Maya Riley: I read the script the night before my callback. I wasn’t familiar with the play, but I’d heard of the playwright because of her work on the TV series This Is Us. When I read it, I got excited immediately. It’s so smartly written. The words jumped right off the page and grabbed me. These are people you know, this is the way people talk, these are issues we’re dealing with right now. That is a beautiful challenge as an actor. Lauren’s visionary and supportive direction is making me a more focused and engaging performer. My castmates are such a joy. I’ve known Mariah since we were kids performing in community theatre productions. Chris is a superb actor and wonderful to work with. And Megan is Nashville theatre royalty and so much fun! Having the opportunity to present this play with this lovely group of people is an honor.

JHPEntertainment: You play Macy the fiancée of Parris’ Jen. Jen’s White, Macy’s Black, they’re lesbians. She’s from the south, Macy’s a northerner. How important is it for you as an actress to take the occasional role with a message, even if, as in the case of The Cake, those messages might be sugar-coated (see what I did there?) in humor?

Maya Riley: For me, it’s incredibly important to tell stories that deal with current events, things that are happening today. I think people need stories that are simply entertaining, and also stories that are somewhat difficult to process. You need both, I think. There are a lot of projects that are one or the other. Not many plays can do both. This is what I love about The Cake. It will entertain you and have you rolling on the floor laughing one minute, then questioning that one interaction with your odd relative the next. It allows for you to be entertained while also sitting in some discomfort. I relish the opportunity to tackle a play that splits this difference so effortlessly. I’m so excited to see how audiences respond.

JHPEntertainment: While you grew up here in Nashville, after high school, you relocated to to New York, more than a few parallels with Macy. Have those similarities helped you develop her as a character?

Maya Riley: I think they have. When I lived in New York, I definitely had to develop that thick-skin, no-nonsense, demeanor. I also know what it’s like to come back down south and have to, let’s say, “readjust” to how things are down here. Which is something I can immediately connect with Macy. Honestly, Macy wasn’t a stretch for me to understand because our experiences are so similar. We belong to the same demographic, in more ways than one. I definitely think that being a southerner who has lived in New York helped me understand her. But I think I would have understood her anyway just because of our similarities. I know what it’s like to be a Black, queer woman in America. In that way, I know her pains, her hesitations, her joys, her comforts. Playing this role, in a way, is like communing with my mirror image. We got each other’s back, as we go through this play every night. At least, that’s how I like to think of it.

JHPEntertainment: What do you hope audiences take away from The Cake?

Maya Riley: I hope audiences take away a slice of cake and have a layered experience (wink)! The foundation of this play is love, which is what makes the stakes so high and the conflict so tense. The Cake is really a conversation in the shape of a play. My wish is that audiences truly take a bite, ride the waves of anger, laughter, and sorrow with us, and leave the theater with love and a deeper understanding of themselves or someone they care about.

For tickets to The Cake, CLICK HERE. Following their presentation of The Cake October 21-30, Nashville Rep continues their season with Elf: The Musical December 21-January 1, August Wilson’s Fences March 3-5, The Curious Incident of the Dog in the Night Time March 24-April 2 and Violet May 12-21. Season Tickets just went on sale earlier this week. CLICK HERE to purchase Season Tickets or for more info. Check out Nashville Rep online HERE and follow them on Facebook, Twitter, YouTube and Instagram.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter. Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Theatre Review: ‘Blithe Spirit’ attempts to conjure laughter; Noel Coward farce continues at Larry Keeton Dinner Theatre thru October 30

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‘Blithe Spirit’ (all photos by Thomas Gentry/courtesy The Larry Keeton Dinner Theatre)

Just before chatting with members of the cast of the Larry Keeton Dinner Theatre’s current presentation of Blithe Spirit for my latest Rapid Fire 20Q, I rewatched the classic mid-40s film adaptation which I hadn’t seen in a decade or longer. Remembering it fondly, I again reveled in the quaintly nostalgic portrayal of an British novelist who finds himself in unlikely comedic trouble when he and his wife host a couple of friends and a kooky medium for a seance meant to inspire his next novel. What happens instead is the medium somehow summons the ghost of his first wife. Things get further complicated when an accident befalls his second wife and he finds himself doubly haunted by the ghosts of both wives past.

During my conversations with the cast for my latest Rapid Fire 20Q, I learned that the show’s director Donna Driver had opted to update the time and place of what is considered by many to be the playwright’s best work. I get it. The original having been set in the English countryside in the early 1940s, might seem a bit stale for a modern audience, and I’ll be honest. There’s little I despise more than a local theatre company attempting accents that end up being all over the place and inauthentic.

That said, you gotta wonder why then did the director opt to set the action in 1980s Texas, but only one cast member speaks with a decidedly Texan drawl? The set, however, designed and constructed by Kevin Driver, does indeed invoke visions of 80s abundant living, with ornate brocade furniture (I swear my Mom still has that sofa in her living room), bookcases filled with Reader’s Digest Book Club volumes and Encyclopedias and the occasional ginger jar. Heck, even the walls are painted in what can only be described as hints of Dark Rose and Forest Green. Donna Driver also serves as the show’s costumer, dressing her cast in some decidedly 80s trends with nods to the wrap-dress, the country club look and more. All in all, a nice representation of the 80s.

Seeing as how the show is about ghosts, I was curious how the special effects would be presented. What few there are are fun, but it seems a shame that they’re mostly left to near the end of the show, rather than being peppered throughout.

Abby Waddoups, Aaron Gray and Erin Grace Bailey in ‘Blithe Spirit’

Aaron Gray is cast as Charles Condomine, the aforementioned author. He does a fine job in the role, and as he revealed during our Rapid Fire 20 Q, he’s created the perfect backstory for his as he calls it ‘rock star’ look, but I feel compelled to mention, the constant, likely unconscious action of brushing his long tresses away from his face became quite distracting. Gray does present a perfectly flustered husband and his on-stage chemistry with both his leading ladies is enjoyable.

Abby Waddoups plays Charles’ current wife, Ruth. While she doesn’t speak with a traditional Texas accent—as mentioned earlier, only one character does, and we’ll get to her soon enough—Abby does approach Ruth with an air of sophistication. Again, a perfect reflection of that 80s-era new-money vibe. As Ruth, she brings a bit of caustic fire to her every line.

Then there’s Charles’ late wife, Elvira played by Erin Grace Bailey. OK, I know this is being super picky, but in every other stage production, film adaptation and televised presentation, Elvira isn’t pronounced like the Cassandra Peterson Mistress of the Dark character, it’s pronounced Elveeera, so this new pronunciation took me a minute to adjust. Newcomer to the Larry Keeton Theatre, Erin Grace Bailey is quite the scene-stealer as Elvira. While her name may now be pronounced like an 80s vampire, she’s just your above-average vampy ghost. She takes the tongue-in-cheek storyline and makes the most of it.

Drew Ann Borsos as Madame Arcati

Speaking of making the most of things, Drew Ann Borsos is simply perfect as Madame Arcati, the medium who helms the seance. Borsos peppers her Madame Arcati with equal parts  bumbling Aunt Clara from Bewitched and every blissfully quirky character Shirley MacLaine has played since the 80s. Every line, every movement seems both organic and spontaneous while you just know its all carefully crafted and executed brilliantly. Coward knew what he was doing when he created this character with his words and Borsos more than does it justice.

Rounding out the cast are Shelby Anderson as Edith, the maid, Michael Welch as Charles’ friend and doctor, Dr. George Bradman and Suzette Williamson as Mrs. Bradman. Anderson is quite fun as the scatterbrained, nervous maid and we even get to hear her sing a bit, which is a fun bonus. Welch and Willamson, who basically only appear in two scenes, one during the first act and one in Act 2, are amusing as marrieds, but seem to be a little overzealous in their portrayals and should perhaps reign in their reactions and facial-pulling just a bit. Then again, there’s no pulling attention from Borsos and Bailey, so why even try.

Blithe Spirit continues its three-week run onstage at The Larry Keeton Theatre (108 Donelson Pike, Nashville, TN 37214) now thru October 30. To Purchase Tickets, CLICK HERE or call the box office at 615.231.1231. Adult Dinner and Show tickets are $35. Child Dinner and Show tickets are $25. Show Only tickets are $30 and $20 respectively. During the run, the schedule is as follows: Thursdays-Doors at 6:30p.m./Show at 7p.m. (Thursdays are Show Only days). Fridays and Saturdays-Doors at 5:45p.m./Dinner at 6p.m. and Show at 7p.m. Sundays-Doors at 12:45p.m./Lunch at 1p.m. and show at 2p.m.

Following Blithe Spirit, the Larry Keeton Dinner Theatre ushers in the holidays with Irving Berlin’s White Christmas, onstage December 1-18. CLICK HERE for tickets or more information.

To keep up with the latest from The Larry Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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Theatre Review: Nashville Story Garden’s US Premiere production of The Welkin wraps two week run Friday, September 30

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British playwright Lucy Kirkwood, whose previous works include NSFW, Bloody Wimmin, Chimerica and Mosquitos, can always be counted on to present through-provoking, female-centered, universally themed theatrical experiences. Her latest, The Welkin, is no exception. Having premiered across the pond in 2020, the US premiere, courtesy Nashville Story Garden, wraps its all-too-brief six performance this weekend with a final performance at 7p.m. Friday, September 30 at Riverside Revival (1600 Riverside Drive, East Nashville).

The Welkin seems somewhere between an all female 12 Angry Men, The Crucible and The Scarlet Letter, with maybe a little Handmaid’s Tale thrown in for good measure. While 12 Angry Men focuses on a group of men determining the guilt or innocence of a man accused of murder, Kirkwood’s The Welkin, set in 1759, presents 12 rural Suffolk UK women tasked to not determine a woman’s guilt or innocence, but rather to ascertain whether or not the already accused and convicted woman is with child or not. Their decision then establishing whether or not she be hanged in the public square or allowed to live…at least long enough to bring her child into the world. All this while the otherwise seemingly sleepy burg awaits the spectacle of Halley’s comet.

I was thrilled when Nashville Story Garden’s Lauren Berst reached out to me to ask me to attend opening night. A new play, in a new (for me) venue. That was enough, but add to that, the cast, many of whom I’ve seen in many of my favorite plays over the years, and a few I wasn’t familiar with…always a potential added bonus.

As the play begins, a title card is illuminated on stage reading simply ‘Housework’, while silhouetted images of the players performing various household chores are seen as shadows backlit on crisp white linens hanging across the stage like laundry on the line. The cast then, removes the draping fabric as the title card is changed to read ‘The Night In Question’ as we meet Ayla Williams as Sally Poppy as we witness a bit of what leads her to her eventual sentence. Williams is spectacular as the convicted murderess. She plays the role with spirit and a no-nonsense bite that also eventually reveals innocence lost, or rather, buried away inside her long before the night of the crime.

A later title card reading ‘The Empaneling’ is where we are first fully introduced to the rest of the cast. During the show’s opening week, assistant director Joe Mobley stepped in for Matthew Rose as Mr. Coombs, the jury-appointed liaison between the court and the women. He is at times humorous and a tad bullish as he wavers between being in the minority, but never forgetting he, as a man, is always in the majority.

As for the jury of matrons, director Halena Kays has assembled a who’s who and a who will be stellar cast including Destinee Monet, Melodie Madden Adams, Tamara Todress, Diego Gomez, Candace-Omnira Lafayette, Jennifer Whitcomb-Oliva, Rachel Agee, Jessica Anderson, Lauren Berst, Megan Murphy Chambers, Matthew Rose, Inez, Rona Carter, Melinda Sewak and the aforementioned Ayla Williams.  With Milly Mason and Jordan Bentley sharing the role of young Katy during the run and Brooke Ferguson understudy for all the women.

Nashville Story Garden’s co-artistic directors, Lauren Berst and Tamara Todress play Lizzy and Emma respectively. Lizzy is the neighborhood midwife, with ties to seemingly everyone, even the aforementioned Mr. Coombs. Berst’s Lizzy takes no guff from anyone and, in spite of her own demons and disappointments, seems to see the good in others. Meanwhile, Emma seems to reserve the majority of her interactions simply holding for disdain anyone she deems below her station. That said, Todress’ Emma is delightful in her disdain.

Of the women, many of them get their moment to shine thanks to the playwright’s clever unraveling of the story, and each and every woman’s background, character and involvement, therein. Perhaps none more than the aforementioned, Ayla Williams, who’s portrayal is at times subtle and at times so explosive she seems on the verge of madness, and who wouldn’t be, given the circumstances of her character’s predicament.

Rachel Agee is marvelous as Judith. She’s played as a bit boisterous and cheeky, perfectly aligning with Agee’s generous talents at both. Jennifer Whitcomb-Oliva is splendid as well. Her Helen seems meek and sweet, but there’s some fierceness fueled by sadness revealed as the play unfolds. Other standouts include Rona Carter as Sarah Smith, portraying the eldest member of the group and Melinda Sewak’s Sarah Hollis, who without uttering one word, provides insight to her character’s pain.

Once the verdict is in, and the action nears its end, there’s a post-show scene in which the women reappear in modern wardrobe performing those same household tasks seen in the opener. A jarring reminder that what the audience has witnessed, and what these character’s portray of a world three centuries ago, seems just as much at the forefront of society today. As the adage states, “a woman’s work is never done” and I’ll add, neither is her fight for herself, her body and her rights.

Off-stage, the team responsible for technical aspects of the play should also be celebrated. Jonathan Nicholson’s stark but effective set, Tony Nappo’s mood-enhancing lighting and Matt Logan, listed as costume consultant. Of the costumes, maybe I read more into it than I should…or should I say ‘red’ more into it, but I love that each women, save one, has a bit of red fabric accented somewhere on her wardrobe. To me this symbolized life’s blood, and with the subject matter revolving around whether or not a new life exists in the belly of the accused, that just made sense. Again, perhaps reading more into it than I should, as more and more was revealed about each woman, I wove my own story in my head as to the placement of the red fabric on each woman, and even the amount of it used in her costume. Without giving too much away, a few examples: Lizzy’s arms are both bound with red fabric wrapped ‘round them, perhaps symbolic of her ties to most of the women. Helen is wrapped in a shawl of red, a visual manifestation of the sadness and burden that envelopes her. Even Sarah Smith, who only has a tiny string of red around one finger…by chance suggesting something she need recall. As I said, maybe I read too much into the fabric and the placement, maybe it was just a nice wardrobe accent that created a constant of the otherwise mostly nondescript clothing of the time period.

The Welkin concludes its run with a final performance Friday, September 30. CLICK HERE for tickets.  For more from Nashville Story Garden, CLICK HERE to sign up for their newsletter or follow them on FACEBOOK, INSTAGRAM and TWITTER.

Theatre Review: With talent paid in full, nothing left overdue in Nashville Rep’s ‘RENT’; Final performance Sunday, September 25 at 2pm at TPAC’s Jackson Hall

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The cast of Nashville Rep’s ‘RENT’

I’m just gonna be honest. Since seeing RENT during it’s original Broadway run, then on tour…twice and a handful of local and regional productions, it’s just not my favorite musical. I KNOW! I KNOW! Apparently I’m not alone though as it seems you either love it or you don’t. Heck, even before it hit the stage last week as the season opening for Nashville Repertory Theatre, I may or may not have joked with a friend or two that the brightly colored wardrobe choices seen in the company’s promotional images, looked, to me like Disney+’s version of Jonathan Larson’s look at late 80s/early 90s life in the time of AIDS in the Lower East Side.

That said, under the direction of Micah-Shane Brewer, with musical direction courtesy Randy Craft and choreography by Tosha Marie, coupled with a cast peppered with a mix of fresh young talent and some remarkable vocals, I’ll admit, The Rep’s RENT (on stage at TPAC‘s Polk Theatre thru Sunday, September 25) just might live in my head rent-free for quite some time.

Still a little skeptical as the show began on opening night, I’ll also admit that when there were some initial issues with the mics of some of the primary cast members, I did lean over to my friend who was my plus1 for the evening and whispered, “I don’t care if they don’t pay the rent, but they could at least pay the electric bill so the mics work.” But I’m here to tell you, once they got into the grove of the music, it was indeed an enjoyable evening of live theatre, something I think we’re all still getting use to after the two-year shutdown without it.

It’s well-known that RENT is based, in part, on Puccini’s opera, La Boheme, which, coincidentally or not, is also currently on stage at TPAC’s larger theatre, the Andrew Jackson Theatre as presented by Nashville Opera. In Puccini’s opera, the action begins in the cold dark apartment of two artists, one a painter, the other a writer, both struggling to make a living and pay their rent.  Larson’s RENT opens in a similar apartment, only this time the artists are an aspiring filmmaker and wannabe songwriter. Wood Van Meter plays Mark, the videographer, while Mike Sallee, Jr. appears as singer/songwriter, Roger.

Van Meter’s Mark is vibrant and full of hope, something not always seen in portrayals of this central character. A definite welcomed interpretation. Van Meter supports the soundtrack throughout, but it’s when he’s featured in numbers like ‘Tango Maureen’ (also featuring powerhouse vocals by Carli Hardon as Maureen’s current love interest, Joanne). Van Meter’s Act 2 solo, ‘Goodbye, Love’ also gives opportunity for his voice to be truly appreciated.

On the flip, Sallee’s Roger is played more introspective and thoughtful. His work on ‘Light My Candle’, ‘Will I’ and ‘Without You’, so rich with feeling.

Both Van Meter and Sallee possess strong vocals skills and a certain comfortability in their respective roles. They definitely play to their strength with this work.

Cast as their on-again-off-again love interests are Natalie Rankin as Maureen, who dumped Mark for a female lover and Marena Lucerno as Mimi, a drug-addicted lost soul who wonders into Mark and Roger’s apartment literally and figuratively looking for light. Rankin’s Maureen is ballsy and unafraid. Even my absolute least favorite musical number, ‘Over the Moon’ is hilariously enjoyable in the capable hands and voice of Rankin. As for Lucerno’s Mimi, she hides her insecurities behind a brash exterior. Both sides of her character are showcased in a couple of the show’s numbers. Her softer side shines bright alongside Sallee’s Roger in ‘Light My Candle’, while her more flamboyant exterior revs up the vibe in ‘Out Tonight’.

Then there’s Deonté Warren as Angel. Again, confession time. Whenever speaking about RENT, I typically recall a local theatrical production I attended about a decade ago, when, not even halfway through the show I leaned over and whispered to my companion, “I can’t wait till Angel dies”. Yes, I know….how dare I, right? Well, the reason for that comment at the time was that more often than not local productions tend to play Angel as a full-on stereotypical drag queen, whereas I’ve always felt the character was likely intended to represents a pre-transitioned trans woman. Yes, I realize Angel’s first scene shows him as a man, playing drums on the street, but the rest of the show, she’s seen in full hair and makeup and her friends refer to her as she/her. Well, in the fabulously capable hands of Warren, Angel is the absolute star of the show. Fierce, Fragile, Funny, Fabulous and Fucking Amazing…all the dang F Words!

Speaking of Fabulous, call it stunt casting, call it whatever you like, but including Lando Hawkins as Angel’s suitor, Tom Collins and Piper Jones as a frequently featured member of the ensemble, who, when together late in Act 2, duet on the reprise of ‘I’ll Cover You’’…simply the show’s best moment. Even my old cynical eyes began to sweat. Simply perfection. And yes…I’m once again a fan of RENT.

You didn’t think I was gonna review RENT without mentioning ‘Seasons of Love’, now did you? As expected, it’s glorious. Nashville Repertory Theatre’s RENT concludes its brief run at TPAC’s Polk Theatre with one final performance Sunday, September 25 at 2pm. CLICK HERE for tickets.

As The Rep’s season continues they’re presenting The Cake October 21-30, Elf: The Musical December 21-January 1, August Wilson’s Fences March 3-5, The Curious Incident of the Dog in the Night Time March 24-April 2 and Violet May 12-21. Season Tickets just went on sale earlier this week. CLICK HERE to purchase Season Tickets or for more info. Check out Nashville Rep online HERE and follow them on Facebook, Twitter, YouTube and Instagram.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter. Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Theatre Review: Blue Man Group’s North American Tour at TPAC thru Sunday, February 16

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Blue Man Group, North American Tour on stage at TPAC’s Jackson Hall February 11-16/photo by Lindsey Best

Having seen Blue Man Group right here in Nashville at TPAC twice before, and once in Las Vegas, I wasn’t sure if I’d enjoy them as much a fourth time during their current North American Tour, at TPAC’s Jackson Hall now thru Sunday, February 16. Then again, each of the previous times I’ve seen them, the show’s been slightly different and the laughter and entertainment as ensured I left the theatre in anything but a blue mood, so I was game to check them out once again and Spoiler Alert: they’re just as fun the fourth time around.

Much like the three primary colors present throughout any Blue Man Group performance, their shows also contain three primary elements, sight, sound and happiness. As always, save a few pre-recorded audible proclamations that put the audience in mind of Big Brother, or perhaps an alien life form visiting we mere earthlings, Blue Man Group members never utter a single word. 

From the moment the audience enters the venue and gets a look at the futuristic set, featuring a wall of led screens, lights and a matrix of electronics, speakers and various other goodies, it’s evident they’re in for an evening of high-energy, high-decibel entertainment. 

Having celebrated their thirtieth anniversary back in 2017, Blue Man Group continues to blend fresh ideas and concepts with tried and true…or should I say tried-and-blue audience favorites that captivates audiences ranging in age from tikes to, well, blue hairs. OK, OK, I’ll stop with the blue puns…maybe.

For the current national tour (there’s also concurrent permanent shows in New York, Boston, Chicago, Vegas, Orlando and Berlin), the Boys in Blue (Meridian, Mike Brown, Steven Wendt and Adam Zuick—thought I’m not sure who’s who) began Music City’s Opening Night Tuesday, February 11 with a shower of confetti raining down on the stage from what looked like one of those air-propelled plexiglass drums used in picking lotto numbers. In true blue ‘did they mean to do that?’ fashion, the second drum full of confetti didn’t seem to work, as the spotlight shined on it revealing it was still full and hadn’t released it confetti contents, causing the Blue Man Group to examine it with perplexed looks, eventually giving up and addressing the plethora of confetti that littered the stage.

Taking full advantage of the current Standing Broomstick Challenge that’s been all the rage on social media the last few days, Blue Man Group goes for the obvious and uber-timely laugh by bringing on a bright yellow broom that, yes, stand on its own. Some clever pass-the-broom hijinks later and the odd man out sweeps up the mess.

If you’ve ever attended a Blue Man Group show before, you know that a good portion of the show involves audience reaction and interaction. 

To that end, when the audience erupts in laughter or thunderous applause, the members of Blue Man Group blankly stares out towards the audience with a dumbfounded expression…you know, like a puppy who can’t quite figure out if he should stay, sit or roll over. 

As far as audience interaction, the current Blue Man Group touring show is full of fun, and unpredictable moments. The night I attended, the first of which began with Blue Man Group venturing out into the audience to retrieve a volunteer who ends up being involved in a surprisingly rhythmic musical sequence of squeaks courtesy a rubber chicken.

As mentioned above, some tried-and-blue aspects of the show remain, including the whimsical, yet oddly melodic PVC woodwinds, paintball art and the always crowd-pleasing marshmallow sculpture. Seriously! How does he catch that many marshmallows in his mouth after having them tossed to him from across the stage?

Blue Man Group audience members get in on the act
Photo by Evan Zimmerman for MurphyMade

Another audience moment came when two mostly unsuspecting volunteers were selected. Once the two were seated on stage with Blue Man Group between them, they were each handed a telephone. When their respective phones rang, they, and the audience soon discovered that they were on each other’s line—and conveniently piping through the speaker system of the theatre. With silent, but understood encouragement from Blue Man Group, the two strangers were then encouraged to carry on a conversation. On Opening Night, one audience member seemed a little more excited to be on stage and part of the show than the other, leading to some hilarious interaction. As a reward for his enthusiasm, Blue Man Group posed for a group pic, and, perhaps as punishment for the other’s lack of enthusiasm, she was relegated to taking the photo. I’m sure this bit plays out similarly each night, but Blue Man Group has been at it so long, you’d think each night plays out in a completely different manner.

Paint Drumming
photo by Lindsey Best

Next, three members of Blue Man Group took center stage and proceeded to play what will remind audience members of a certain age of an old aerial tv antenna. Think a multi-tiered, larger than life menorah, which they preceded to strike in various places, playing it like a xylophone condominium. 

Always keeping up with the times, current events and our obsession with the latest technology, there’s a humorous bit involving the fickleness of social media likes/dislikes, as well as another audience participation gag centered ‘round electronic devices and facial recognition.

A little over halfway through the 90ish minute show, there was an all-in audience dance break when Blue Man Group motioned for everyone to get up on their feet and follow along with their dance moves. 

Another seemingly unplanned ‘mishap’ involved hundreds of ping pong balls. Sorry, not sorry. Dozens and dozens of ping pong balls bouncing all around the stage, much to the dismay of Blue Man Group will always be funny.

This was followed by yet another instrumental performance, this time, picture a box fan, with blades made from long PVC pipe. Anyone who’s ever talked into the whirling wings of an oscillating fan as a kid can relate, and enjoy this particular segment. As a matter of fact, I leaned over and whispered to my friend who was accompanying me Opening Night and commented on how the resulting tones would be a soothing ambient sleep noise option.

photo by Evan Zimmerman for MurphyMade

Near the end of the show Blue Man Group held up bight neon pieces of paper and again, without murmuring a single word, instructed the audience to open their programs and take out the neon paper insert, tear it up and at the appropriate time, throw them into the air. The result, a rave-tactic celebration. 

Blue Man Group closed the show with what is surely now their trademark, a colorific percussion extravaganza pounding three large drums center-stage as primary color lights stream down from above and coordinating primary color paint splashes with each beat of the drums. Oh, and if you go, don’t arrive late…or do…because you’ll be called out, spotlight, humorous proclamation and all.

Blue Man Group continues the Nashville leg of their current North American Tour with shows thru Sunday, February 16. CLICK HERE for tickets or for more information. Following the Music City dates, Blue Man Group continues on tour with shows in Chattanooga, Paducah, Evansville, Knoxville, Richmond, Atlanta, Muncie, West Lafayette, Springfield(s) (IL and OH)…and that’s just through March. So, if you’re not in Nashville but want to catch them on the road, CLICK HERE for dates and specifics in your area. You can always keep up with Blue Man Group by liking them on Facebook and following them on Instagram, Twitter and YouTube.

One of Blue Man Group’s most iconic moments
Photo by Evan Zimmerman for MurphyMade

Up next at TPAC’s Jackson Hall as their Broadway at TPAC season continues, is Jesus Christ Superstar, on stage March 3-8. Discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Theatre Review: There’s no such thing as too much hype to describe the theatrical experience that is ‘HAMILTON’; on stage in Nashville at TPAC’s Jackson Hall thru January 19

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Joseph Morales and members of the cast of ‘Hamilton’/all photos by Joan Marcus, courtesy Hamilton National Tour

Nashville theatre audiences have anxiously awaiting the arrival of Lin-Manuel Miranda’s Broadway blockbuster, Hamilton, right here in Music City since Tennessee Performing Arts Center first announced its eventual 2020 arrival during the season announcement party back in April of 2018. Well, the wait is over! Hamilton has ascended upon TPAC’s Jackson Theatre.

Before attending the show Tuesday night, I had honestly never listened to the soundtrack, other than catching occasional televised performances on the Tonys, the Grammys, the Olivier Awards and the like. Partly because I initially hoped to see it on Broadway or Chicago, where I had friends in both companies, but mostly because I kept hearing Hamilton described as a hip-hop musical. While I consider myself musically well-rounded, I’m not exactly a hip-hop aficionado, or a history buff, for that matter. I just didn’t know if I wanted to sit through a two and a half hour musical that tells the tale of Alexander Hamilton through rap and hip-hop. Damn. I’m here to tell you, after experiencing it live, on stage, in a packed house. I was foolish to deny myself this long.

When I say there was a packed house, I’m not exaggerating. My best friend and I arrived to the theatre Tuesday night an hour and a half before curtain (normally, I breeze in as the house opens half and hour before the show begins). When we arrived, valet was surprisingly quick, which reassured me we were simply early. Nope. Once inside TPAC’s lobby, we walked into the biggest crowd of folks I’ve ever seen at the venue and you could feel the buzz of excitement. Hamilton had arrived and Nashville was ready.

As time ticked away, the hour wait flew by. Some passed the time waiting in line for a photo op at the Hamilton selfie wall, while many visited the merch booth for the usual t-shirts and mugs, or Hamilton-centric items like golden quill pens. I myself managed to thankfully find a spot on a bench near the theatre entrance and struck up a conversation with a lady and her daughter who were excited to be there. What’s more, they were there because they had entered TPAC’s ticket lottery and had won the chance to purchase two prime seating tickets for $10 each! CLICK HERE for more about the Hamilton/TPAC ticket lottery.

Once inside the theatre, more selfies were taken as patrons flooded the room. There it was. The set. The first glimpse of what some have described as the most important theatrical experience of our generation. Set Designer, David Korins–whose work includes everything from Pee Wee Herman’s playhouse for its recent stage run to Beetlejuice’s frighteningly fanciful Broadway set–created the Hamilton set. Upon first glance, it appears nautical in nature, with ropes, pulleys and wooden platforms invoking ideas of a ship. Perfect, as we soon discover through the lyrics of the show’s first tune, Alexander Hamilton that the founding father was not only an immigrant orphan, but that he also worked on a trade charter as a young teen.

To the casual viewer, the set seem to remain the same throughout the show. But with the added technical craft of lighting designer Howell Binkley, the set, at times represents everything from a courtroom to the physical representation of the growing age of enlightenment that was New York in the early 18th century. Such a seemingly simplistic set, but so cleverly utilized and smart. While many current shows seem to be following the trend to feature completely realistic projections, Korin’s wooden scaffolding set, complete with a surprise dual…or should I say duel (see the show, you’ll get the reference)…turntable floor feature, enhances the action of the show and the music, but doesn’t distract from it.

On the subject of the music of Hamilton, as mentioned above, yes, hip-hop is predominant, and not just in style, but in reverence to the genre itself. It can’t be coincidence that the show’s second musical number, My Shot, begins with Hamilton spelling out his name in a rhythmic patter, “A-L-E-X/A-N/D/ER”. That’s surely a nod to legendary rapper Notorious B.I.G., who rapped, “N-O/T-O/R-I/O/U-S” within the lyrics of his iconic 1997 cross-over hit, Going Back to Cali. That’s not the only Biggie nod, as midway through act one’s Ten Dueling Commandments commands memories of B.I.G.’s The Ten Crack Commandments, a track from the performer’s final studio recording. Notorious B.I.G. isn’t the only hip-hop artist Miranda pays homage to. The opening of Cabinet Battle #1 has a Jay-Z Izzo intro vibe. Heck, the cabinet battles themselves are even staged like classic rap battles, mic-drop and all., There’s also a similarity between Hamilton’s Meet Me Inside to DMX’s Party Up in Here. 

It’s not just hip-hop that’s references in Miranda’s brilliant soundtrack. There’s also more than a few winks to the art of showtunes themselves. The most obvious, nods to Gilbert and Sullivan, Jason Robert Brown and Rodgers and Hammerstein. For Gilbert and Sullivan, it’s the hilarious inclusion of a direct lyrical lift from Pirates of Penzance, featured during Hamilton’s Right Hand Man when General George Washington refers to himself as “the very model of a modern major general”. Jason Robert Brown’s The Last Five Years’ Nobody Needs to Know, pops into Hamilton during Say No To This. My favorite of these three…during My Shot, Hamilton references South Pacific’s Carefully Taught.

Other lyrical nods may or may not be intentional, but rather, perhaps only coincidental, but I doubt it. Miranda has proven himself a true lover of musical theatre by including lyrical taps to things like 1776: The Musical’s Sit Down, John. While it covers the same subject matter as Hamilton’s The Adams Administration, it’s given a decidedly edgier and hilarious feel when accompanied by an unexpected expletive. There are literally a couple dozen theatre references, intentional or not, throughout the show, but I digress.

Rap and Showtunes are just two of the musical genres Miranda includes within Hamilton. Perfectly setting the scene with acknowledgement to the factual time during which the action is set, Hamilton also includes period-authentic instrumentation. During King George’s Act 1 jewel, You’ll Be Back, a harpsichord is featured. What’s the significance? A harpsichord perfectly repersents the time period as many composers of the day included parts for the now oft-forgotten instrument in their arrangements. Then there’s an actual piece originally composed by composer Wilhelm Richard Wagner included in Hamilton during Helpless, when Alexander proposes to Eliza. The classic piece in question…commonly known as Here Comes the Bride, is actually titled Bridal Chorus and was first presented by Wagner during his 1850 opera, Lohengrin.

OK, enough…probably too much…about the trivial musical winks, but I had to mention, as listening for them and recognizing them became one of my favorite aspect of seeing the show for the first time.

Because of its continued success and popularity, Hamilton is still on Broadway, while simultaneously embarking on their National Tour…there are two current US tours in fact,—The Philip Tour and the Angelica Tour. Nashville’s TPAC is playing host to The Philip Tour.

Starring as Alexander Hamilton is Joseph Morales, who was previously part of Hamilton’s Chicago company. As Hamilton, Morales plays the founding father , whom we first meet at age 19 when he arrives in New York in 1776. For those droves of Hamilton fans, Morales, and anyone who ever plays Hamilton, has the unenviable task of stepping into the role orignated by Miranda himself, daunting, indeed. To his absolute credit, Morales approaches young Hamilton during Act 1 with a convincing naïveté paired perfectly with an excitement to make his mark on the new world. I’m not gonna lie. From his first notes of the eponymous Alexander Hamilton to the finale, Morales evoked chills as I learned more about Hamilton than I ever realized I needed to know. Morales portrays Hamilton from enthusiastic young man with a vision through the pain of losing his son, jeopardizing his marriage and his ultimate untimely death, running the gamut of emotion in a believable, but unforced way

Cast as Hamilton’s counterpoint and eventual assassin–Come on…that’s no Spoiler..even I knew that–is Jared Dixon as Aaron Burr. Alright, I have to admit it, the only reason I know Aaron Burr killed Alexander Hamilton is thanks to an early 90s Got Milk? commercial (directed by Michael Bay, btw) in which a Hamilton historian misses out on a radio trivia contest while eating peanut butter sandwich with not enough milk to wash it down…again….I digress. 

Dixon as Burr, the OG frienemy, is not only the perfect foil for Morales’ Hamilton, but also the perfect scene partner, their lyrical sparring make for some of the show’s most enjoyable moments. Plus there’s the running gag of the way everyone lingers on then pronunciation of Burr’s surname, which begins with the tune Aaron Burr, Sir and continues throughout the show.

The Schuyler Sisters

As well-known to Hamilfans as Hamilton and Burr there’s also The Schuyler Sisters, Angelica, Eliza…and Peggy (see the show, you’ll get the reference). Cast as Hamilton’s love interest and eventual wife, Eliza is Erin Clemons. Her physical beauty, and that of the actresses playing her sisters, only accentuated by the glorious costumes courtesy costume designer Paul Tazewell, Clemons is the perfect scene partner for Morales’ Hamilton, not only vocally holding her own, but wowing the audience during numbers like the gorgeous Helpless, an r&b ballad with a healthy dose of the romanticism of a Cole Porter standard. 

As Angelica, Ta’Rea Campell is mesmerizing. Presented not only as Eliza’s selfless sister, but also as Hamilton’s unrequited love, Campbell’s performance presents a subtle depth to the character, especially during her featured turn alongside Clemons and Morales during the gorgeous Satisfied.

Nyla Sostra’s Peggy is memorable, mostly because the character herself is played as forgettable. That said, Sostra snags the spotlight in the dual role of Maria Reynolds, with whom Hamilton had an ill-fated illicit affair that would prove a potential thorn in his political side. In a wardrobe move straight out of Bette Davis’ Jezebel, when Sostra takes to the stage in a red dress as Reynolds, the heat is on.

As expected, other historical figures present in Miranda’s Hamilton include the aforementioned King George III, George Washington and Thomas Jefferson.

Joseph Morales and Marcus Choi in ‘Hamilton’

As George Washington, Marcus Choi plays our first president with a bit of wit and wisdom, making me personally long for a leader with those same qualities. Songs like Right Hand Man, Stay Alive and One Last Time showcase Choi’s talents perfectly.

Neil Haskell as King George III is everything you’d hope a self-centered royal would be…and then some. With equal parts Sir Elton John at his campiest mixed with your anything-but-average spoiled monarch, Haskell steals every scene he’s in…and interestingly, he interjects himself throughout the action of the play, even though it all takes place stateside.Haskell’s King George puts the ham in Hamilton in the best way possible during You’ll Be Back, What Comes Next and I Know Him…all containing a happy sing-song 60s Brit-pop melody. A nice contrast the the soundtrack predominately heavier rap aesthetic.

King George III

Warren Egypt Franklin’s Thomas Jefferson—clad in a purple topcoat that rivals anything rock royalty Prince ever wore and strutting like a banty rooster with a cockiness that’s reminiscent of another Jefferson…TV’s George Jefferson as played in the 70s by Sherman Hemsley—he too holds his own and steals the limelight whenever he’s on stage. What’d I Miss, Cabinet Battle #1 and Election of 1800, among his musical highlights. Franklin also does double duty appearing as Marquis de Lafayette, changing it up a bit donning a humorously heavy accent and a less flashy topcoat for the role.

Also doing double duty in two supporting roles Desmond Sean Ellington as Hercules Mulligan and James Madison, Elijah Malcomb as John Laurens and Philip Hamilton, the aforementioned Nyla Sostre and Nick Sanchez who plays three roles: Philip Schuyler, James Reynolds and Doctor. 

These actors, along with the rest of the ensemble and the leads, bring the story of Hamilton to glorious life. 

In addition to Lin-Manuel Miranda’s inventive book, music and lyrics, Hamilton also boasts an electrifying array of movement as choreographed by Andy Blankenbuehler. To that end, the visual presentation of the ensemble dancers, whether dressed in full military garb, or stripped down to petticoats and form-fitting pants and sleeveless undershirts, as dressed by Tazewell, perfectly accentuates the movement. At times, while the leads perform vocally, the ensemble beautifully accentuates their words with movement. Much like the genre-crossing inclusion of music, many dance forms are presented in Hamilton, from ballet, to jazz, hip-hop and even touches of traditional tribal dance. Proving once again, Miranda and company deserve every bit of hype, but more importantly, praise for THE musical of our time.

Hamilton continues its extended run at TPAC’s Jackson Hall with performance through January 19. To follow Hamilton, check them out on Facebook, Instagram and Twitter.

You can discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

RAPID FIRE Q&A with singer/songwriter Crystal Bowersox; starring in ‘Trauma Queen’, presented by Studio Tenn at historic Franklin Theatre

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At 7p.m. on Saturday, October 26, former American Idol season 9 favorite, singer/songwriter Chrystal Bowersox, who now calls Nashville home, will star in Trauma Queen a new musical theatre piece presented by Studio Tenn at The Franklin Theatre, just off the square in downtown Franklin, TN.

 Bowersox broke the Idol mold when she appeared on the original run of the wildly popular reality competition series porting dreads and tattoos instead of the typical teen pop look of many of her fellow Idol hopefuls. Finishing her Idol season as the runner-up, Bowersox is still marching and singing to her own beat and Trauma Queen proves it as she invites Saturday night’s audience to join her for an original night of theatre. Trauma Queen is indeed an original night of theatre in every sense of the term as she combines everything from a predominately one-woman-show and a concert along with heavy doses of musical theatre and even a touch of single-mom real talk.

Earlier this week, as Bowersox was preparing for this weekend’s show, I had the opportunity to pose a few questions to her for the latest in my recurring interview feature, Rapid Fire.

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RAPD FIRE Q&A WITH CRYSTAL BOWERSOX

 JHP: Having worked on Idol myself during the first two original seasons, I know a little about the behind-the-scenes. As a former Idol contestant, what do you look back at with fondness?

CRYSTAL BOWERSOX: Well, you know it’s a crazy ride, then!! Thanks for taking the time to do this interview. A lot of it was and still is a blur to me – it was a trying time in my personal life having just had a baby a few months prior to the audition. I struggled to find quality child care for my son during the process and my mind was way more focused on the well being of my child than on my participation in the competition. That dynamic made it difficult for me to just sit back and enjoy the trajectory our life was on. I was simultaneously struggling to afford my insulin and healthcare costs pertaining to my Type 1 Diabetes, but things got easier once I advanced past the top 10 stage of the competition. I fondly remember the moments on set with the crew and contestants – the jokes and conversations had with vocal coaches, hair and make-up personnel – visits from the well known celebrities and their families in the green rooms after show tapings – experiencing Los Angeles restaurants with a little bit of status – all of these things were new and incredibly unfamiliar to me having grown up poor on a farm in the midwest. It was all very strange and wonderful at the same time. I am especially grateful for the stability the show brought to the life of my son and I.

JHP: Alright, just gotta ask…what’s your oddest Idol memory?

CRYSTAL BOWERSOX: Ha! There were so many odd moments. One that was televised was right after a live performance of the song, People Get Ready. I had cried at the end of the song because I’d spotted my father in the audience wearing sunglasses (he only wears them indoors if he knows he’s going to cry). I was overwhelmed with gratitude in that moment for everything that was happening, for how far I’d come in just a few months. I went from crashing on my dad’s couch, basically homeless with a baby, to being carted around by drivers and covered in expensive clothes and make-up on prime time television. When Ryan Seacrest came over to talk to me after the performance, I saw a handkerchief peeking out of his breast pocket. I grabbed for it to dry my eyes, but it wouldn’t budge. So I pulled harder and when it ripped out of his pocket, I realized that it was only the corner of an actual handkerchief, just taped into place. I still have it. Laughing through tears, I said, “Ugh…. Hollywood!!” Nothing is quite as it seems there.

JHP: Oh, wow. I totally remember watching that. What was the genesis of Trauma Queen as a stage show?

CRYSTAL BOWERSOX: It’s been nearly 10 years since my time on American Idol. A LOT has happened in my personal and professional life since then. About 2 years ago, my mother lost her home to a devastating fire. The farm house that I grew up in burned to the foundation. It was a rough upbringing. I didn’t have a lot of fond memories in the house. So there were a lot of feelings to sort through with the loss of it, and emotions that I hadn’t yet sorted through regarding my past relationships, traumatic life experiences and issues with addiction. What better way to sort through them all of them but by creating a piece of art? My music has always existed that way – My pain put into words and music has been healing for not only myself, but also for my audiences. I wanted to continue that effort in a new, unique way.

JHP: I understand you’ve collaborated with two-time Pulitzer Prize nominee and Peabody winner, Willy Holtzman and singer/songwriter/producer Marty Dodson (who’s penned songs recorded by everyone from Plain White T’s to George Strait) on this project. How did you guys meet and come to work together?

CRYSTAL BOWERSOX: Willy Holtzman is an amazing human being. One of my absolute favorites. I’m so honored to work with him, and with Marty Dodson, who writes incredible songs for many well known artists. I met both Willy and Marty in New York City. I was reading for a part in another musical that they were both working on. Willy approached me one day and said, “I’m pretty sure your wikipedia page doesn’t do your story justice. Let’s write it out.” I resisted the idea at first – there were parts of my personal story that I wasn’t very proud of. The thought of putting it all out there was terrifying. As we went through the process of writing the script (which took about a year) Willy helped me realize that by talking openly about my mistakes, missteps and triumphs I could liberate myself from any guilt or shame I held. He convinced me that by sharing my story, I could possibly help others heal and do the same. I’m grateful he kept pushing me out of my miserably comfortable zone. Ha!

JHP: How did you get connected with Studio Tenn to collaborate on Trauma Queen?

CRYSTAL BOWERSOX: The first mention to me of Studio Tenn was from Bob and Merle Higdon, just about a year before I actually connected with Studio Tenn. Bob and Merle had mentioned to me then that Melinda Doolittle worked with Studio Tenn frequently and suggested she and I connect. When Willy Holtzman and I finished our script, he reached out to Benji Kern who he had worked with years prior and suggested we all work together on our new show Trauma Queen. Studio Tenn has been trying to reach me through the cosmos for a while! I feel as though it has been the intention of the universe for quite some time that we should all come to know one other.

JHP: As you mentioned, my pal Benji Kern, Studio Tenn’s interim artistic director is producing. How has it been working with him on this project?

CRYSTAL BOWERSOX: Oh my goodness, I LOVE working with Benji. He is a man of big, wonderful ideas, and has the determination to bring them to fruition. He has been so inspiring to watch and learn from. I admire his talent and work ethic. He’s not the kind of person who sits and simply wonders, “It would be cool if this happened”. He makes it happen! Benji is my spirit animal.

JHP: Gotta admit, Trauma Queen is indeed an intriguing show title. Was it immediately the title, or were there other contenders?

CRYSTAL BOWERSOX: Initially, the title, Trauma Queen was a little ha-ha joke of an idea. But I spent a lot of time with it and the phrase developed into a much deeper title in my heart. Women (and men, especially) are often told not to be so dramatic… We are taught from a young age to harden the emotional parts of ourselves – that our feelings should be squelched and minimized so as to not ruffle any feathers and make others around us more comfortable. I do not agree with this. I believe that the practice of hiding parts of our hearts does more damage than good. I prefer to be open and honest with my feelings. A Trauma Queen is defined in my opinion as a woman, a person, who has the courage to truly conquer their demons. Someone who has learned from their mistakes and chooses to rule over them like battle scars, replacing shame and guilt with a sense of accomplishment and pride, rather then letting negativity take control of their psyche – which will cause all sorts of other disfunction in life. A Trauma Queen is anyone who has been to hell and back emotionally but decides to rise like a phoenix from the ash of their past.

JHP: What can audiences expect from Trauma Queen?

CRYSTAL BOWERSOX: Bring your Hollywood hankies! We’ve been calling this a “Theatrical Rock Concert” rather than a musical, because the majority of songs included in the show are ones that I’ve released previously on past albums. Some of the songs are brand new and help support the characters and stories. I explain the genesis of each song as if I’m in that moment of my life, in real time. Actors play out the different characters in each story, as the music plays on. We shine a spotlight on the generational cycle of abuse and disfunction in families, with the triumphant realization that history doesn’t have to be repeated. There will be tears; however, there will be a lot of laughs, too. I’ve managed to cope with my past through a lens of humor despite the darkness of some of the stories.

JHP: One of the aspects of your life you touch on in Trauma Queen is being a single mom. Has that experience affect you in regard to presenting your authentic self as a performer?

CRYSTAL BOWERSOX: I haven’t spoken publicly about my son’s father. Trauma Queen will change that. I’ve written songs about the loneliness of it all, for myself and from my son’s perspective, but have never really touched on any of the details surrounding that chapter in our lives. American Idol was adamant that I not publicly share that story as it didn’t fall in line with the “America’s Sweetheart” persona. There is such a stigma surrounding the phrase, “Single Mother”. I am determined to change someone’s mind about it. I didn’t want to be a single mom. That was my son’s father’s choice. I knew it would be the most difficult road to travel. While that remains true, I am so grateful that my life has played out this way. Every ounce of strength I’ve ever had has come from my love and devotion to my son, and from my determination to give him a better life than I ever had before him. He will never have to question how loved he is. I try to teach him that living authentically and honestly is important, and that you absolutely can make a living doing something you’re passionate about every day of your life if you’re determined to work hard and make it a reality.

JHP: Following this weekend’s presentation of Trauma Queen, what’s next for you…and the show?

CRYSTAL BOWERSOX: I can’t predict the future, but my hope is that people will have been inspired by it enough that interest will grow in the production, and the show will be able travel to different cities and theaters. After the show this weekend, I will be launching a KickStarter crowd sourcing campaign to hopefully fund my next independent album release. The record will include a few of the songs from Trauma Queen. I’ll continue to tour in November and release the new record sometime in the spring of 2020.

And I think I’ll finally be due for a real vacation with my boy. I haven’t taken a single one in ten years. Yeah, I think it’s time. He and I deserve it.

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Crystal Bowersox’s Trauma Queen will be presented by Studio Tenn at 7p.m. Saturday, October 26 at The Franklin Theatre (419 Main Street, Franklin, TN). At the time of this interview, a select number of tickets remain. CLICK HERE to purchase tickets. To keep up with the latest from Crystal, CLICK HERE or follow her on Facebook, Instagram, YouTube and Twitter.

Up next at Studio Tenn is Rodgers and Hammerstein’s Cinderella on stage at Jamison Hall at The Factory at Franklin from December 6-29. CLICK HERE  for tickets or more information. You can always check out Studio Tenn online at StudioTenn.com or follow their socials at Facebook, Instagram and Twitter.

Wanna check out previous Rapid Fire conversations? CLICK HERE. 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.

Theatre Review: Act 1’s World Premiere ’The Nightmarium Incident’ a fun start the the Halloween season

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 A genuine life-long fan of spooky stories and horror movies,—seriously, Barnabas Collins, The Bell Witch and Michael Myers are among my favorite childhood memories. So when I heard Act 1 was presenting an original tale or terror, The Nighmarium Incident, written and directed by Eric Butler as a pre-Halloween offering at Darkhorse Theatre, I was all in.

Stage manager Katie Veglio, lighting designer Kristen Dubois and sound designer Kaitlin Barnett have created a ghoulishly perfect 1980s-era set that immediately put me in mind of Frankenstein’s lab, or, perhaps more accurately, the set of Sir Cecil Creep’s Creature Feature, a weekly Saturday night horror movie presentation—a Nashville television staple from my youth.

As the Nightmarium commences we are introduced to Maureen Henson (Natalie Stone) hosting W-KIL—gotta love those morbid call letters—Channel 9’s schlocky Friday night horror presentation, The Nightmarium Creature Double Feature as Mistress Twilight. It is quickly revealed that Maureen is simply biding her time as the Elvira wannabe while she patiently waits a more serious gig as co-anchor of the station’s evening news. Stone plays the duality of Maureen/Mistress Twilight with ease, vamping it up as the cheeky horror hostess, while alternately exploring Maureen’s career-driven seriousness.

As Mistress Twilight, Stone’s Maureen is surrounded by a perfectly stereotypical cast of characters including Jarvis Bynum as Maureen’s husband Wesley, who appears on the show-within-a-show as Papa Moreaux, a voodoo priest. Bynum, too manages to differentiate between the two characters he plays, presenting Wesley a devoted husband to Maureen, then switching gears to portray the creepy Papa Moreaux.

There’s also Beth Henderson as Dale, Channel 9’s mild-mannered weatherman who doubles on the horror fest as Dr. Solomon Wretch. In part because Henderson is playing Dale, which, given the unisex nature of the character’s name, could be a man or a woman, she’s a scene-stealer from the start. Whether the playwright originally envisioned Dale as a man or not is unclear, especially considering the inclusion of more than a few punchlines aimed directly at Dale’s masculinity. Nonetheless, Dale ends up being one of the best parts of the show thanks to Henderson’s comedic timing and her ability to deliver her lines with conviction, in spite of the silliness of the show.

Henderson, Stone and Bynum of Act 1’s “The Nightmarium Incident”

While they spend the majority of the play hidden behind two Voodoo hand-puppets, Tori Simpson and Elizabeth Turner provide the show with many laughs throughout.

TJ Koomen is featured as the TV show’s technical director, Sam, offering up equal parts Alan Brady and Rob Petrie as the harried director who also has a bit of a soft side for his colleague Maureen.

Steven Kraski is perfectly weird as Luke the station’s custodian who dreams of making the leap from waaaay behind the scenes to front and center as one of the horror show’s cast members. He plays the creep factor so well in fact, I wasn’t convinced till the very end that all the trouble wasn’t simply Luke’s elaborate audition gone awry.

Stealing every single scene he’s in is Joseph Hudson as The Nightmarium’s cameraman, Joe. Hudson’s Joe is the good ole boy to end all good ole boys. Having grown up i a relatively small country town just west of Nashville, I definitely know the type and Hudson has it down to a science, rising above the predictable to riotous results.

Rounding out the show-within-a-show cast are Emmanuelle Loyer as Floor Manager Rhonda, Alyssa Borg as Sherri Peterson, the stations new seemingly vapid anchorwoman, Maureen’s main obstacle in her pursuit of being an news anchor and Matt Smith as Bill Haig, the station’s star anchor. Smith, always a joy to watch onstage, is another reason this show works. Dressed in wardrobe courtesy costumer Brooklyn Hughes reminiscent The Mary Tyler Moore Show’s self-important anchor, Ted Baxter, as played by Ted Knight or Will Ferrell’s Anchorman, Ron Burgundy—with an ego and toupee to match, Smith elicits laughter simply by standing there.

While the plot gets as murky as The Munsters’ moat…the infighting and interpersonal relationships between Maureen, her horror show co-stars and crew and her rivals at the news desk…plus the real plot of The Nightmarium Incident, when an accidental incantation brings murder and mayhem to the station…all in all, The Nightmarium Incident provides more than enough laughs, and a few frights, the perfect precursor to Halloween. With only an all-too-brief two-week run, here’s hoping Music City gets another chance to visit W-KIL and The Nightmarium Incident next season.

Act 1’s The Nightmarium Incident concludes its run with one final show Saturday, November 19 at 7:30p.m. CLICK HERE to purchase tickets in advance for $15, or purchase them at the door for $18.

Up next at Act 1 is playwright Lisa Loomer’s Distracted directed by Elizabeth Hayes, on stage November 15-17 and 21-23. CLICK HERE for more information.

To keep up with Act 1, follow them on Facebook, Instagram and Twitter.

Theatre Review: ‘Once on This Island’ National Tour kicks off in Nashville showering Music City with talent and excitement

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Kyle Ramar Freeman as ‘Asaka’ and Courtnee Carter as ‘Ti Moune’ in the North American Tour of “Once on This Island”. All photo by Joan Marcus

Earlier this week Music City finally began the transition from an unusually long, hot summer to the much-awaited chill of autumn, with even a promise of rain. As if designed by the gods themselves, those elements also seem to be present inside TPAC’s Jackson Hall as Nashville plays host to the premiere performances of the first-ever National Tour of Broadway’s Once on this Island.

Initially taking Broadway by storm (pun fully intended) when it debuted in 1990, Once on This Island tells the tropical island tale of a young girl who sacrifices her very soul to save the life of the boy she feels it is her destiny to meet, protect and love. Based on Rosa Guys’ 1985 novel, My Love, My Love: Or, The Peasant Girl, the story itself is a modern retelling of Hans Christian Andersen’s The Little Mermaid. That said, if you’re expecting a happy-go-lucky mermaid flippin’ her fin with Flounder and friends, you’re thinking the wrong mermaid tale, for Guys’ novel and this theatrical interpretation, in particular, share more in common with the original fairytale than that of the House of Mouse.

Instead, Once on This Island delivers a thought-provoking look at love, lust, dreams, faith and magic while skillfully simultaneously examining the realities of racism, classism and even colorism on a remote Caribbean Island.

Even before the action of the play actually begins, theatre patrons who arrive early are immediately swept away to a tropical oasis. Rather than a lowered curtain obscuring the stage, Once on This Island invites the audience to preview what’s to come by having the set in full view upon entry to the theatre. As cast members buzz about on stage, it seems evident all is not postcard-perfect on the island. Instead, we see islanders picking through trash strewn along the sand—yes, the stage is covered in a fine layer of sand, just one of the actual natural elements that play such a large part in the play. It soon becomes clear that we are witness to the aftermath of a tropical storm, perhaps also a bit of foreshadowing of the eye of the storm at the heart of the piece. 

Further immersing the audience into the mix, a handful of lucky patrons find their seats amongst chairs and risers on the stage itself. This particular aspect of the tour is done to attempt to replicate the show’s recent Broadway revival at Circle in the Square, one of only two Broadway theatres that utilizes a stage that is surrounded on three sides by audience seating.

Directed by Tony-nominated Michael Arden (Spring Awakening), with book and lyrics by Lynn Ahrens and music by Stephen Flaherty (Original Score Tony-winners for Ragtime), with Dane Laffrey’s authentic set design, costumer Clint Ramos’ inventive and colorful wardrobe and a company of accomplished and talented actors, Once on This Island presents a storm-wrecked island complete with ramshackle dwellings, displaced belongings and all, but also present, an obviously tight-knit community, a community of survivors. A community of love and hope for rebuilding the future and surviving the next storm. Heck, in the opening number We Dance reinforces the islander’s optimism when, as they  pick through the wreckage, they proudly sing, “We are dancing just to stay alive”.

Mimi Crossland and Courtnee Carter surrounded by cast members of “Once on This Island”

As the story begins, locals find a young girl alone and frightened the morning after a storm. Young actors Mimi Crossland and Mariama Diop share the role of the Little Girl, alternating performances. On opening night Crossland was seen in the role and she was delightfully charming.

With perhaps a wink to the Hans Cristian Andersen original mermaid lore, the young girl is initially thought to be unable to speak, but that proves to be a falsity as she gleefully joins the islanders as they tell her the tale of Ti Moune, a beautiful dark-skinned orphan girl raised by a poor but loving couple, Tonton Julian (Tony winner, Phillip Boykin) and Mama Euralie (Danielle Lee Greaves). These two present their characters with a lovely balance of guidance and understanding and immeasurable vocal skills, setting the pace for the entire show with powerful, emotional performances.

As the storytellers tell the Little Girl the story, the action transitions to a grown up Ti Moune (Courtnee Carter) as she rescues Daniel Beauhomme(Tyler Hardwick)…and yes, the character’s last name literally translates from the French as ‘beautiful man. Ti Moune meets Daniel, a light-skinned wealthy young man of both French and Caribbean descent who crashes his car on the “wrong side of the island”. Feeling it’s her true destiny, she leaves her family to journey to the other side of the island to return him to his home and nurse him back to health. Some time later, he lapses into a coma and here’s where the story veers a bit from the mermaid source material. Instead of our heroine making a deal with a sea witch in exchange for her beautiful voice, Ti Moune makes a deal with Papa Ge, the Demon God of death (played by former American Idol favorite, Tamyra Gray) to trade her life for her beloved’s. That plot twist, and its subsequent effects bring a bit of Romeo and Juliet vibe to the piece.

Gray’s Papa Ge isn’t the only god involved in the story. There’s also Erzulie, the Goddess of Love, played by Cassondra James; Jahmaul Bakare’s Agwe, the God of Water and Asaka, Mother Earth as presented by Kyle Ramar Freeman. As their character names and casting might infer, Gods, Goddesses and Demons aren’t restrained by antiquated ideals of gender norms, but rather representational of a fluidity mere mortals are finally just beginning to understand. Case in point, when the original production of Once on This Island debuted on Broadway in 1990, Papa Ge was played by a male actor. Since it’s revival, the role has been played by female actors. Meanwhile, the reverse is true for Asaka. Initially the role was portrayed by a female, but since the revival, it’s been less gender specific. Just another lesson to be learned during your visit on the island.

While the story itself is often-times familiar, both in the Little Mermaid sense, and the age-old young girl sacrificing everything for a man sense, it’s the vibrancy of the music, paired with Camille A. Brown’s energetic and emotional choreography and the powerhouse performances of the entire cast that, much like the gods who are represented, breath fire, life and air into the piece.

Carter is blissfully perfect as Ti Moune. With a voice fitting the oft-referenced mermaid, regardless of your views of perpetuated stereotype of the woman sacrificing all for the man she loves, Carter’s performance is excellently layered and heartfelt. The highpoint of her performance, and dare I say, the entire play, Ti Moune’s Dance, during which she boldly arrives to a proper cotillion dressed in a flowing island dress in her character’s signature red and performs an unabashedly passionate dance of her native culture, at once shocking and enthralling her more refined critics and onlookers, who by no coincidence of the show’s costumer, are dressed in regal, yet blandly off-white finery. I can’t be the only one who was reminded of Bette Davis’ red dress moment in the classic film Jezebel during this breathtaking scene.

Members of the company of “Once on This Island”

The Gods of Once on This Island also shine in their individual ways. Gray presents Papa Ge with a strength and presences to be reckoned with. Powerful yet perfectly sinister, her rich vocals are the stuff of which fear is made. Shoot, even her costume is partially fashioned from what appears to be caution tape, a literal warning of things to come. Bakare, aided by a Triton-esque beard fashioned from shredded fabric portrays the gentleness of the water with an ever-present ability to literally turn the tide at any moment. James’ Erzulie, complete in a flowing gown and royal headpiece, is majestic and beautiful with a voice to match. Freeman, who somehow reminds me of a gentler Evilene from The Wiz, portrays a loving Earth Mother with flair and feistiness. Gotta love a Goddess who can make a gown out of a discarded floral tablecloth. 

Credit where credit is due, t’s the midway showstopper Mama Will Provide and Ti Moune’s aforementioned dance that will linger in the audience’s mind long after the sands of time have washed away the rest of Once on This Island. 

While the show doesn’t exactly offer a traditional Happy Ending, the playwrights do offer up a simply divine finale as the entire ensemble of Once on this Islandsings the joyous finale Why We Tell the Story. It’s the perfect spirit-rejuvenating number that, in spite of the less-than storybook ending, allows the audience to leave the audience with the rhythm of the island in their bodies and the positivity of love and faith on their minds.

Once on This Island wraps its opening week at TPAC’s Jackson Hall as performances continue through the weekend with an evening performance Friday October 18, as well as matinee and evening performances Saturday and Sunday, October 19 & 20 before heading out on the road as this debut National Tour continues. CLICK HERE for tickets to this week’s remaining Nashville performances.

Following their Music City dates, Once on This Island continues their National Tour with upcoming dates across the US through June 2020. CLICK HERE to see when the show is coming to a theatre near you or follow Once on This Island on Facebook, Instagram, YouTube and Twitter.

TPAC’s 2019/2020 Broadway Season continues with The SpongeBob Musical November 5-10, CATS November 19-24, Hamilton December 31-January 19, My Fair Lady February 4-9, Blue Man Group February 11-16, Jesus Christ Superstar March 3-8, The Color Purple March 27-29, Escape to Margaritaville May 5-10m Summer: The Donna Summer Musical May 26-31 and Charlie and the Chocolate Factory June 9-14. CLICK HERE for more.

To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram as well.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Rapid Fire Q&A with ’It’s My Party’ director, Bradley Moore; Studio Tenn to host staged reading of new musical Saturday, October 5

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In recent months, Studio Tenn has announced several new initiatives from new educational outreach programs, classes and services to the development of new theatrical works. At 7 p.m. Saturday October 5, one such new work will be presented during the premiere staged reading of It’s My Party, a new musical featuring the songs of 60s pop icon Leslie Gore. Written by playwrights Jamison Lingle and Nick Hirata, It’s My Party brings the popular beach movie concept to the stage as directed by Bradley Moore with a cast including Studio Tenn darlings (and former American Idol fan favs) Diana DeGarmo and Ace Young.

Earlier this week I had a chance to chat with my friend Moore for the latest installment of my recurring interview feature, Rapid Fire Q&A to find out a little more about the project, the creatives behind it and what audiences can expect.

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Bradley Moore

JHP: How did you become involved in this project?

BRADLEY MOORE: About a year ago, I started getting together with Benji Kern (interim Artistic Director of Studio Tenn) for coffee and lunches to chat all things theatre. He’s really into reaching out to other creative folks in town and getting to know them. At one of our coffee hangs, he told me about this project. He thought that I should get together with the writers and see if we jived. And the rest is history!

JHP: I’ve attended a few staged readings over the years, but never one for a musical. How does that work?

BRADLEY MOORE: Well you know, I have directed some in the past, but never one for a musical either, so it was definitely exciting, uncharted territory for me. What I love about readings is that there are really no rules. It can be as simple as a bunch of people on stage with music stands to people with scripts moving all over the place. This show has such a great, youthful energy that I wanted to make sure that what we were presenting represented that. So our presentation is somewhere in the middle and all around. You know me, I don’t really love simple and never want to do what anyone has done before. I love what is going to be on that stage Saturday night. And yes! There will be a live band and singing!

JHP: Who have you got amongst your cast?

BRADLEY MOORE: We were so fortunate that Diana DeGarmo and Ace Young were in town and graciously agreed to be a part of this journey. It has been a thrill working with them. Both are ridiculously talented and the kindest humans you could ever hope to know. And joining them on stage are some incredible performers including Heather Hershow, Kristen Fields, Annika Burley, Emmarose Williamson, Ben George, Jackson Rector, Ty Russell, Jonah Jackson, Matthew Roberts, Zachary Waters, Kat Shannon, & Kelly Whitlow.

JHP: What can you tell me about the plot?

BRADLEY MOORE: It’s My Party is set in the 1960’s in Malibu, California. It follows a group of college coeds through love triangles, hair-brained schemes, revenge plots, mistaken identities, among other hilarious plot points. The fantastic writers, Jamison Lingle & Nick Hirata, have poured so much love and time into this project. They have really crafted a wickedly fun and well-written show. 

JHP: I’ve said it many many times in my reviews, Studio Tenn is as close to Broadway-quality as we get. How exciting to be involved with them for this piece?

BRADLEY MOORE: Extremely. I have admired Studio Tenn’s productions for years. It’s really nice to be creative with people who appreciate the complete scope of creativity. And Benji has been so supportive and trusting. It has been a dream come true. I hope there are many more projects with Studio Tenn in my future. 

JHP: You mention Benji. He’s producing, right? How is he as a producer? 

BRADLEY MOORE: Fantastic. His work-ethic and trusting nature are a beautiful thing. I am forever grateful for his faith in me. I have kind of had a very weird 18 months in the theatre world. This project has definitely helped me to believe that I am right where I should be. Sometimes one opportunity can really turn things around for someone. Benji felt that I was the right person for this project and I am so glad he did!

JHP: I understand as part of the staged reading your cast will be performing a handful of the songs featured within the musical. Who are some of the musicians you’ve been working with for the reading?

BRADLEY MOORE: Sandy Tipping. Sandy Tipping. Sandy Tipping. Sandy is our Music Director and the one who worked on the arrangements of all the songs. He is brilliant and one of the easiest humans to work with. I did not know Sandy prior to this process, but I am so grateful that I know him now. He has created some beautiful arrangements of Leslie Gore’s music with the help of the playwrights Jamison and Nick.

JHP: Speaking of Leslie Gore. Have you always been a fan of her music or is she an artist you discovered by accident? 

BRADLEY MOORE: My introduction to Lesley Gore was definitely because of the film, The First Wives Club, which to this day is still one of my favorites. For those who have not seen it, at the end of the film, Diane Keaton, Bette Midler, and Goldie Hawn perform a very enthusiastic version of You Don’t Own Me. It is amazing and super fun, not to mention you have three of the greatest actresses on this planet. I had the soundtrack to the film and wore it out. So maybe my love for that moment in that film has lead me to directing this project. A little kismet never hurt anyone!

JHP: If people want to attend the reading on Saturday, October 5 at 408 Church Street (3rd Floor) in Franklin, can they still RSVP?

BRADLEY MOORE: Yes! Just go to the link and sign up! The reading is free, but you must RSVP!

JHP: For those who miss Saturday’s staged reading, when might we see this work developed into a full stage production?

BRADLEY MOORE: Personally, I would love to see a fully staged production. Here’s hoping! It’s really ready. Usually, with any new work, there are a lot of rewrites and retooling after the initial reading/workshop phase. I’m not so sure this piece needs all that. It is pretty awesome the way it is!

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To check out just how awesome It’s My Party is, be sure and CLICK HERE to RSVP to the staged reading.

Following this weekend’s staged reading, Studio Tenn immediately dives into their next endeavor on Friday, October 18 as they present their spectacular annual fundraising gala, One Night Only, themed this year as “An Evening With Friends”. CLICK HERE for more info or to purchase tickets. Then, from December 6-29, Studio Tenn will present Rodgers and Hammerstein’s Cinderella. CLICK HERE for details. You can always check out Studio Tenn online at StudioTenn.com or follow their socials at Facebook, Instagram and Twitter.

Wanna check out previous Rapid Fire conversations? CLICK HERE. 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.