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Rapid Fire 20 Q

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!

Rapid Fire 20Q with cast of the Larry Keeton Theatre’s ‘Blithe Spirit’; Noel Coward classic onstage October 14-30

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It’s been quite some time since I’ve attended a show at The Larry Keeton Theatre, one of Nashville’s only, if not the only remaining Dinner Theatre, so you can imagine my delight when a friend, who just so happens to be one of the theatre’s board members, reached out extending an invitation to come see their upcoming production of Noel Coward’s high-spirited classic, Blithe Spirit. I then inquired if they’d be willing to have some of the cast take part in the latest installment of my recurring interview feature, Rapid Fire 20 Q. Given the fact that even before I began writing about theatre more than a decade ago, I was a season subscriber at the Keeton and have always enjoyed their productions, I’m thrilled to be writing about them again.  To that end, what follows are my conversations with Erin-Grace Bailey, Abby Waddoups, Aaron Gray and Drew Ann Davis Borsos, just days before they open at the Keeton Theatre in Blithe Spirit.

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RAPID FIRE 20Q WITH CAST OF THE KEETON THEATRE’s BLITHE SPIRIT

RAPID FIRE WITH ERIN-GRACE BAILEY, ELVIRA IN BLITHE SPIRIT

JHPEntertainment: What can you tell me about Elvira, the character you’re playing in The Larry Keeton Theatre’s production of Noel Coward’s Blithe Spirit?

Erin-Grace Bailey: Charles refers to Elvira as “rather light and irresponsible,” which I think is a great way to describe her. She’s just a joy to play. To me, in her life, she would have been the person to arrive fashionably late at a party and just completely light up the room. She’s witty, feminine, and she isn’t afraid to say whatever comes to her mind.

JHPEntertainment: Playing Elvira and apparitions in general aren’t a new phenomenon to you are they? Tell me a bit about your side gig as a Ghost Tour guide? 

Erin-Grace Bailey: Indeed. It’s kind of funny. I applied to be a tour guide with the ghost tours because I am a huge history nerd and always thought being a tour guide would be fun (and it is). I lead walking tours of some haunted historical sites and get to share Nashville history and ghost stories a couple times a week. The gig has sort of led me into getting involved in a lot of entertainment on the spookier side as well, including murder mysteries, a show based on the works of Edgar Allen Poe, and now Blithe Spirit. Ironically, I scare very easily, and if you’d have told me five years ago that a lot of my current work would look like it does now, I would have said you are dead wrong! 

JHPEntertainment: What’s been the most fun aspect of playing a ghostly figure?

Erin-Grace Bailey: Elvira is unapologetically who she is. She gets to do and say whatever she wants, and, aside from her husband, no one else witnesses it. Playing a ghost takes away these life or death stakes we see so often in plays, and she really gets to let loose. It’s not very often we get to do something like that as actors. 

JHPEntertainment: I understand this is your first show with the Keeton Theatre. What’s the experience been like so far?

Erin-Grace Bailey: It has been so lovely, and I’ve been so grateful to get to know and work with these people. I’m thankful to Donna for trusting me to take on this role and perform this text. Everyone on this team has been so supportive since the beginning. I can’t wait for the audience to see all of the love that’s been put into every aspect of this project – from the acting, to the set, to the sound design, and more.

JHPEntertainment: While it’s your first Keeton show, this isn’t your first time appearing in a work written by the great Noel Coward, having played Julia in a production of Fallen Angels. Prior to our chat you indicated Coward is your favorite playwright. What is it about his style that you enjoy?

Erin-Grace Bailey: The first time I was exposed to Noel Coward, I was in an acting class in undergrad. I was assigned a scene from Blithe Spirit, playing Madame Arcati actually, and I had a terrible time of it at first. Coward writes like you’re on a racetrack, and you don’t stop unless it’s absolutely necessary to change the tires. I had several acting classes end in tears, but once it clicked with me, I felt like it really clicked. I’ve adored him ever since. Coward’s scripts are written very intentionally. The wit in his dialogue is unmatched, and he leaves enough of his scripts up to interpretation that his works have remained relevant for the past hundred years. One of my favorite things about Blithe Spirit specifically has to do with the way he has written the female characters, particularly Ruth and Elvira. They completely juxtapose one another, yet neither of them are perfect. There aren’t these unrealistic expectations of perfect beauty or manners in either of them. I love getting to play a character who is incredibly light and feminine but also quick-witted, confrontational, and outright funny. Female identifying characters from the time period this play was written are often meant to be one thing or another, and part of why I think Coward’s works are still so cherished is that a great deal of his characters don’t fall into this trap.

RAPID FIRE WITH ABBY WADDOUPS, RUTH IN BLITHE SPIRIT

JHPEntertainment: In the Larry Keeton Theatre’s production of Noel Coward’s Blithe Spirit, you play Ruth. How would you describe her?

Abby Waddoups: Ruth is a devoted wife to Charles and considers her position of wealth and managing their household very important. Her whole world is shook when Charles believes he sees the ghost of his first wife, which continues to live with them for several days. She is naturally upset and emotional about the whole ordeal.

JHPEntertainment: As Ruth, you get the fun opportunity to play two aspects of the same character, one–her earthly human form, the other–her ghostly incarnation. Are there subtle differences in the way you play her in each of the two configurations?

Abby Waddoups: Yes, Ruth definitely has a range of emotions throughout the show and those are the best characters to play. The difference in live Ruth and spirit Ruth are great. Our director, Donna Driver, has pushed the spirits to be fun and light. I take this as the worries in the real world have been lifted from Ruth’s shoulders in death. By accepting her death, she is able to be more carefree. 

JHPEntertainment: The original script sets the action in the English countryside. Accents can always be an issue with local productions, so I’m wondering…Did the cast work with a dialect coach Or has the setting been changed?

Abby Waddoups: The Keeton theatre decided to change the setting and time period of this production. They apparently have other British farces set at the same time and thought their audience would get tired of it. The setting has been changed to 1980s Dallas. It is still in keeping with the British humor, but with small changes of locations.

JHPEntertainment: Like Erin, this is also your first time doing a Keeton show, so I’ll ask you the same question I asked her. What’s it been like thus far?

Abby Waddoups: Working at Keeton has been great! The people are all very nice and professional. The stage is on the larger side and deep for a community theatre, so that’s fun. The theatre itself has a good reputation around town and is an important part of their community. Audiences should be large and I’m sure they will enjoy the show!

JHPEntertainment: Since Blithe Spirit features a couple of séances…If you could summon the ghost of any famous person, who would it be and what would you asked of them?

Abby Waddoups: Wow, that’s an interesting question that I’ve never thought of before… of course their are multiple classic actors who would make my list, but my first instinct goes to a specific rock star, David Bowie, and I’d ask him to play a duet with me.

RAPID FIRE WITH AARON GRAY, CHARLES IN BLITHE SPIRIT

JHPEntertainment: You play Charles, a man who’s visited by not one, but two ghosts, both of whom were married to him. Describe each of your two leading ladies in three words each.

Aaron Gray: Well to begin with these two ladies are great to share the stage with. Their performances counter and compliment one another comedically. It has been awesome to work with them.

Abby Waddoups, who plays Ruth, is powerful, surprising, and engaging on and off stage. Erin-Grace Bailey as Elvira is fierce, exciting, and witty in everything she does. 

JHPEntertainment: Blithe Spirit is typically set in 40s, the time period during which it was first presented on stage. A quick look at rehearsal images reveals your longer hairstyle isn’t exactly period-authentic. I was going to ask you about that, but while chatting with one of your costars, the aforementioned Abby, about whether or not there was a dialect coach to aide with the British accents, she revealed that your production is no longer set in England, nor the 1940s. So instead I’ll ask…what do you think of the director’s decision to update the timeframe and the locale?

Aaron Gray: Great question. Our director had the idea to set the play in 1980s Dallas before we even had auditions. This is a cool spin on the play and gives it a new unique style. Charles only has a few published books, but i see him as if he thinks he is some sort of new celebrity. His recent success inspires him to keep his hair long as he likes to think he is living the 80s “rockstar” lifestyle. I was willing to cut my hair for the role if needed, but after some character development and the vision of Donna, I think the hair fits the show we are going to portray.

JHPEntertainment: Keeton patrons will no doubt recognize you as you’ve been in a few shows there. What is it about the Keeton that keeps you coming back?

Aaron Gray: After graduating from MTSU with a bachelors in theatre in 2019, the Keeton was the first theatre I auditioned for. I was cast in Mamma Mia just before the pandemic hit. When that production finally opened after being on hold for over a year, I found a family and community here that I fell in love with. For me, the Keeton isn’t just about the shows we build onstage, its about the friendships we build backstage, too.

JHPEntertainment: What’s your favorite characteristic of Charles?

Aaron Gray: Charles is an interesting character because although he is funny and relatable, he also has selfish and unlikable qualities. I personally aspire to live as a generous and good person, so to play a character like Charles has been a fun change of pace. Playing Charles’s more selfish and indignant motivations throughout the play is what makes playing him so interesting and fun. 

JHPEntertainment: Charles is a novelist struggling for inspiration for his next work. If you were to write a novel, what would it be titled and what would it be about?

Aaron Gray: I used to love creative writing in school, so portraying a novelist has reminded me of those days. I would have to say that I would write a children’s story. I have a 3 year old son that means everything to me. He inspires me to tell stories and create art that means something. So, to create a story that he’d love would mean a lot to me. It would be about growing up and embracing who you are no matter what life throws at you. I would call it The You That You Are. I would want my son to know that no matter what anyone says, the best thing he can be is himself. 

RAPID FIRE WITH DREW ANN DAVIS BORSOS, MADAME ARCATI IN BLITHE SPIRIT

JHPEntertainment: You’ve got the scene-stealing plum role of Madame Arcati, a role originated on the stage and in the classic 1945 film adaptation by Margaret Rutherford and subsequently by everyone from Geraldine Page and Angela Lansbury to Jennifer Saunders and, in the current 2022 film, Judi Dench. Those are some big turbans to fill. How do you feel you’ve made her your own?

Drew Ann Davis Borsos: I am tickled pink to play Madame Arcadi! I love physical comedy and playing eccentric, quirky characters. My last role was Daisy in Driving Miss Daisy. Her character was sedate, dignified, and reserved. My director, Vickie Bailey, had to reign me in constantly! I am thrilled to be able to go all out for Madame Arcadi! Our director, Donna Driver, has given me room to make Madame Arcadi bigger than life. Is she an act, or is she the real deal? She is passionate, boisterous, and self assured. Margaret Rutherford’s own personal characteristics along with Noel Coward’s words, made that part comical for which she earned an Oscar. But, I can’t imagine her, or Judi Dench, jumping, running, and throwing themselves on the furniture, or Angela Lansbury being overly melodramatic. I was sorry to hear that Angela Lansbury passed over this week.

JHPEntertainment: Since you play a medium, What are your thoughts on ghosts and such, and Have you ever attended a seance?

Drew Ann Davis Borsos: I would never be part of a real life seance, or go to a Fortune Teller, or seek out someone who talks to your deceased loved ones. My character talks to the dead! I have learned that there are different kinds of ghosts in the spirit world…Poltergeists, Emanations, Elementals, etc! My personal belief is that the spirit world is very powerful, very real, and not something to be mocked. Ghosts stories, movies, and plays can be entertaining, but let’s not forget that there is a dark power at work in the world, and it is deceptive. But, as far as participating in Halloween is concerned, it is about opening your doors to your neighbors and getting candy!

JHPEntertainment: As mentioned above, Madame Arcati is easily the most-desired role in Blithe Spirit. Had you not been cast as her, is there another role, regardless of whether you fit the ‘type’ or not, that you’d love to also play?

Drew Ann Davis Borsos: If I had not been cast as Madame Arcadi, I would love to play the role of “Edith”. Edith can be any age, and any gender. I love the the awkwardness and naivety of the character. Also, there are less lines to memorize!

JHPEntertainment: Has it really been a decade since you starred in the Keeton Theatre’s production of Lend Me a Tenor? The theatre has gone through a number of changes since then. What do you think is the best aspect of the current support system and crew at the Keeton?

Drew Ann Davis Borsos: There are a lot of improvements in the building and the theater, which had to be a joint venture with the staff and volunteers over the years. It is more secure and we now have a bathroom backstage!! I noticed right away that there is more organization and communication between the Staff, Board Members, Director, and Crew. It is not everywhere that an actor can walk into the first rehearsal and have a set already done, and costumes and props already provided. That gives us time to learn lines and to deliver a well rehearsed performance. I’m pleased to see in the last few years, there have been more staged plays, and not just musicals. The Larry Keeton Theatre is not just the community theatre hidden behind the Senior Center, but it is now a prime Nashville attraction.

JHPEntertainment: Blithe Spirit is celebrating its eighth decade since it was first staged. What is it about the show, and Noel Coward’s brand of comedy hijinks that makes it just as enjoyable today as ever?

Drew Ann Davis Borsos: Words, Words, Words! It is rich in vocabulary and every sentence is full of little gems. There is a beauty and art form in the way he constructed sentences. Most of us these days don’t know how to talk so eloquently. Or, is that just a British thing! The audience feels for the leading man and lady who gradually lose control of the situation, and has to rely on a bumbling clairvoyant, who got them into this mess in the first place, try to get them out of it. And who wouldn’t love to see the special effects and portrayal of ghosts on screen or in live theater?

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As Borsos’ Madame Arcadi’s says, Who wouldn’t love to see it. To catch Blithe Spirit during its three-week run onstage at The Larry Keeton Theatre (108 Donelson Pike, Nashville, TN 37214).For more information or 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. There is a special Pay What You Can Industry Night for fellow actors and crew who might not be able to make the weekend performances due to their own shows about town. For Blithe Spirit, Industry Night is Wednesday, October 12 with doors at 6:30p.m. and curtain at 7p.m. Industry Night show only tickets are a suggested $15. 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.

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

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note or email me at Jonathan@jhpentertainment.com. You can also follow JHP Entertainment on Instagram and Facebook.

Rapid Fire 20 Q with vocalist Lisa Stewart; Performing a Jazz Set at Analog at the Hutton Thursday, August 4

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Singer/songwriter/actress/TV host, when it comes to Lisa Stewart, there’s nothing this talented beauty can’t do. What’s more, while she did indeed get her start in 90s country, she’s not one to stick with one genre. To that end, she’s teamed with a group of talented musician recently to form to provide lead vocals to a jazz ensemble who’ve played Analog at The Hutton ((1808 West End Ave, Nashville) several times over that past few months. This Thursday, August 4, Lisa and her band will be back for another jazz set at 7p.m. Having known Lisa for several years, I figured it was high time we chatted for my latest Rapid Fire 20Q.

JHP ENTERTAINMENT: As I mentioned in my intro to our chat, you’re returning to Analog at The Hutton Thursday, August 4 for another jazz set. You’ve played Analog a couple other times recently…is this becoming a regular thing?

LISA STEWART: Yes, it is! The Hutton is owned and run by creative people who love music. I’m very fortunate that they have taken me in as a sort of a “regular” on an irregular basis.  

JHP ENTERTAINMENT: Some folks might know you musically as a country artist, having released your solo country project in the early days of your career, but even back when you were a frequent guest on TNN’s Music City Tonight, you’d occasionally do a jazz vocal. A sultry version of Fever comes to mind. Have you always been a fan of jazz?

LISA STEWART: Ah! Thank you for remembering that performance of Fever…that was so much fun! I’ve loved jazz standards for as long as I can remember! It was actually a jazz/piano vocal of My Funny Valentine, produced by Byron Gallimore, that opened the door to a meeting with Joe Galante in NYC. During that meeting he gave me the “thumbs up” to sign with BNA Records, a division of RCA. 

JHP ENTERTAINMENT: Who are some of your favorite jazz vocalists?

LISA STEWART: I think Billie Holiday has one of the most identifiable voices across all genres. I’m a big fan of Sarah Vaughn, as well. Ah, and Julie London. But, my heart draws a straight line to Chet Baker.  

JHP ENTERTAINMENT: While doing a little digging to chat with you, I discovered you first performed at a very young age in church. What do you remember about those days? 

LISA STEWART: I began to sing my first solo performance after my mother dropped the needle on a 45 record of He’s Still Working on Me. When the song ended, I experienced an “Ah-ha” moment. I was 6 years old, felt the love from the audience, and knew what I wanted to do with my life. 

JHP ENTERTAINMENT: In addition to music in church, did you grow up in a musical household?

LISA STEWART: My mother is a pianist and organist. She can read any piece of music you put in front of her. She and I had so much fun playing and singing together. My dad always dreamed of singing on The Grand Ole Opry. As a little boy, he would hide under the covers and listen to The Opry on Saturday nights. When I shot one of my music videos at The Ryman, Dad finally got walk onto that historic stage. It was one of my sweetest memories.

JHP ENTERTAINMENT: I can relate. My dad never really knew any ‘new country’ artist I worked with, but when I told him I worked with George Jones, I felt like he was more proud of me then than ever before. Something else you and I have in common, we’re both from small southern towns. You’re from Louisville, Mississippi. What memories of your childhood there do you hold dear?

LISA STEWART: There are so many. It was a simple, southern, small town life. Some of my fondest memories were holding my dad’s hand and walking to church. Afterwards, I’d go to “the singin'” with my grandparents. We’d go fishing on weekend and go swimming with the snapping turtles at Lake Tiak O’Khata. My folks always had a big garden and I loved picking strawberries. I was surrounded by art and music. My mom would stay up all night sewing dresses for me. My brother, Keith, and I would listen to vinyl records for hours on end. Stewart Family Pottery goes back to 1888, and my brother carries the torch at his pottery studio in Taylor, MS. 

JHP ENTERTAINMENT: Speaking of your hometown. While researching in preparation of our conversation, I noticed the ‘notable people’ from your hometown, aside from you, are mostly athletes and coaches. So, I gotta ask…were you ever into sports?

LISA STEWART: I was into gymnastics for 8 years and was on the track team for about a minute. 

JHP ENTERTAINMENT: Aside from music, you’ve also enjoyed success as a tv host. In fact, it was during those years that we first met. How much fun was hosting #1 Country and This Week in Country Music?

LISA STEWART: I absolutely love working in television and being on a set! That’s a team sport!

JHP ENTERTAINMENT: Now, see there! You got a sports reference in after all. Your hometown will be proud. Like everyone in Nashville, we’ve had a few connections through the years. Weren’t you in a Billy Gilman music video? You know I worked with his management around that time, right?

LISA STEWART: Yes! I was! And I do recall that you were a part of his team!

JHP ENTERTAINMENT: You’ve also ventured into acting throughout your career. Heck, I remember the TV movie Xxxs and Ooos, with a theme song sing by Trisha Yearwood, no less. Didn’t you have a quick appearance as yourself in that one?

LISA STEWART: I did! I think I was in an aerobics class! LOL!

JHP ENTERTAINMENT: Gotta love a TV movie who’s theme song was a bigger success. That leads me to another aspect of your career…songwriting. In fact, along with with Burton Collins & Clay Mills, you co-wrote Sky Full of Angels which appeared on Reba’s 2003 Room to Breathe. Like singing, songwriting is something you’ve always enjoyed, isn’t it?

LISA STEWART: Yes, I’ve been writing songs since I was about 9 years old. I write almost daily. 

JHP ENTERTAINMENT: Let’s jump back to your acting for a minute. A couple years ago, you appeared in an episode of Vampire Diaries and a few other projects, including the film The Novitiate.  How does being on set as an actor compare to being on set as a host?

LISA STEWART: Being a host vs. playing a role as an actor are two completely different gigs. The energy, the perspective, the headspace…is like comparing apples and architecture.

JHP ENTERTAINMENT: Any acting gigs in the future? Have you ever done live theatre? You know, Nashville does have a fantastic theatre scene.

LISA STEWART: I recently auditioned for a popular TV series. We shall see! And yes, I have done some live theatre. I’ve enjoyed some wonderful plays and musicals at TPAC! 

JHPENTERTAINMENT: On the subject of theatre, last time I saw your son, Evan, y’all joined me for a local production of Shrek: The Musical. According to Facebook Memories, that was 8 years ago! I’m terrible at math, but I think that means Evan’s gotta be a teenager by now. Has he shown any interest in music or performing? 

LISA STEWART: Evan is 13 now! While he is musical with a great ear, a lovely voice, plays a little guitar and is a fine actor (he’s been featured in commercials and music videos), he is smart enough to express, “Mom, I don’t wanna be in show business. The road is too rough.” Fortunately, he is into academia, but just wants to lead a simple life. 

JHP ENTERTAINMENT: Back to your current musical expression, who’ve you got performing alongside you for your upcoming jazz night at Analog?

LISA STEWART: I’m fortunate to get to share the stage with some of the best jazz musicians around! This Thursday will feature Andrew Carney on trumpet, Rick Reed on drums, Alex Murphy on keys and Carter Murphey on upright bass.

JHP ENTERTAINMENT: Having played The Analog before, what’s your favorite aspect of the venue itself?

LISA STEWART: The room was designed by Michael Cronin….so it sounds absolutely divine!

JHP ENTERTAINMENT: Are you keeping the set strictly jazz, or do you plan on dropping in a classic country tune or two, or perhaps one of the songs from your country project?

LISA STEWART: For this show, it seems that anything aside from jazz feels a bit left footed. I like to stay in the jazz vibe.

JHP ENTERTAINMENT: Having done a handful of these jazz sets at Analog, is the set list always the same, or does it change when the mood strikes?

LISA STEWART: I like to have a set list as a guide, which may vary from show to show. But, I think it’s important to feel the room, as well.

JHP ENTERTAINMENT: Any plans to maybe record a jazz album?

LISA STEWART: Don Was, if you’re reading this. Let’s talk. 

JHP ENTERTAINMENT: Anyone who is friends with either of us knows I’ll be in the audience at Analog Thursday as it’s the day before my Aug. 5 birthday. It’s also your birthday weekend, as yours is Aug. 6. What are you doing to celebrate your big day?

LISA STEWART: I love birthdays, and I hope to be spending my day with my son and my special someone. I hope to FaceTime my parents, brother, niece and nephew, too. But, I’m looking forward to doing what I love so much to kick off the weekend Thursday night…and that’s getting lost in the music.

Lisa Stewart will perform her jazz set at Analog at The Hutton Thursday, August 4. Advance tickets are available through August 3 for $15. Day of show tickets will be $20. CLICK HERE to purchase tickets. Any remaining tickets can also be purchased at the door just before showtime for $20. Follow Lisa on Facebook and Instagram.  For more performances at Analog at The Hutton, check them out on Facebook, Instagram and Twitter.

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

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

Rapid Fire 20 Q with director and cast of ‘Breaking Up Is Hard To Do’; at Chaffin’s Barn February 6-29 with a special Valentine’s Day performance February 14.

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Jukebox musicals—a theatrical piece that features songs from one particular artist, era or genre—are hugely popular. Such shows as Mamma Mia, Jersey Boys and Smokey Joe’s Cafe frequently find their way among the favorites of local and regional theatre companies’ go-to offerings, but leave it to Chaffin’s Barn Dinner Theatre to reach a little deeper into the jukebox musical genre as they present Breaking Up Is Hard To Do, onstage at Chaffin’s from Thursday, February 6-29. If you’re like me, you may never have heard of this particular show which features the music of Neil Sedaka, as it tells a 1960s tale of Marge Gelman (played by Melissa Silengo) a young woman who, after being left at the alter, decides to take her best girlfriend Lois Warner (Jenny Norris) along on what would have been her honeymoon trip to the Catskills at the end of summer, where they encounter locals Del Delmonico, (Liam Searcy) a good looking up-and-coming crooner, his friend, Gabe Green (Curtis Reed) who just so happens to be the force behind his music, Harvey Feldman (Scott Stewart) a stand-up comedian and Esther Simowitz (Vicki White) the owner of a popular nightspot.The fact that Chaffin’s is presenting a show that’s completely new to me, coupled with the fact that once I began researching the music included, I realized I knew virtually all of the tunes (I just didn’t necessarily know they were penned by Sedaka) and I knew I had to chat with director Joy Tilley-Perryman and members of her cast for my latest Rapid Fire 20 Q.

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Rapid Fire 20 Q with Breaking Up Is Hard To Do director and cast members

Rapid Fire with Breaking Up is Hard to Do director, Joy Tilley-Perryman

JHP: I understand the show takes place in The Catskills during the 60s, a little Dirty Dancing romance with a dose of Cyrano de Bergerac and even a tad Bye Bye Birdie…is that a fair assessment?

JOY TILLEY-PERRYMAN: That is a fair assessment, with a great deal of zippy zingers, some awesome dance lifts and juggling thrown in for good measure.

JHP: The Catskills, in their prime, seem like a dream vacation. What’s your favorite vacation spot?

JOY TILLEY-PERRYMAN: My favorite vacation spot is Kauai, Hawaii. It is paradise and it has been far too long since I have been to the Waimea Falls. It is the island that Elvis made famous in Blue Hawaii and the island that Hurricane Iniki almost wiped out in 1992. I love the rhythm of  island time and the blissful energy of the Hawaiian islands. If you have never been, do yourself a favor and go!

JHP: I haven’t but it’s definitely on my To Do List. So, what is it about this show that makes it the perfect addition to Chaffin’s current season?

JOY TILLEY-PERRYMAN: This show is truly a love story for everyone. We have couples of all ages included here. And for people of a certain age (ie me), this music is so familiar and comfortable and just plain fun. Fun fact, I had a baton routine to Love Will Keep Us Together when I was 10 or 11 and if pressed, I can still remember parts of it. Just don’t ask me to do any double elbow rolls or two hand spins into an aerial release. I would fall and quite possibly break a hip these days. 

JHP: What can you tell me about your cast?  

JOY TILLEY-PERRYMAN: This cast is full of my loves and and also a fresh face making his Barn debut. I love working with Scott, Vicki, Jenny, Curtis and Melissa and have found working with Liam to be an absolute delight. You would be hard pressed to find 6 more beautiful voices. They just make me smile! Also, this show has tons of audience participation, so come on out and see if you are in Mrs. Futternick’s chair or Mr. Weinblatt’s seat or are you the lucky lady who gets to come on stage and be serenaded by Del.

Rapid Fire with Breaking Up Is Hard To Do choreographer and co-star, Curtis Reed

JHP: When I chatted with Joy, I noted a bit of a comparison in one of the show’s plots to Cyrano, in that your character Gabe Greene, is basically the guy behind the success of popular Catskills performer Del Delmonico, making you Cyrano to Liam’s Christian.  Does that sound about right?

CURTIS REED: I believe so. Liam plays Del who is oozing with charm but in all actuality is not that nice. And he is also only pretending to like Marge to get to Marge’s father, who Del thinks is a big Music Manager. My character is the nerdy, behind-the-scenes type who pines for the girl who goes unnoticed by most, but who is number one in his eyes. Gabe has the passion and the heart for music, while Del only has the looks and the voice.

JHP: Speaking of Searcy, while this is his first Chaffin’s show, you two shared the stage during Studio Tenn’s recent mounting of Joseph and the Amazing Technicolor Dreamcoat, right?

CURTIS REED: This is Liam’s first Barn show and we are so excited to have him as part of this cast. I loved working with Liam on Joseph at Studio Tenn. He is a great performer and always willing to learn and better himself. I challenged him on a few dance moves both solo and with Jenny and he is a total team player. 

JHP: As I mentioned in my intro, you’re not only playing Gabe Greene, but you’re also the show’s choreographer. The 60s were such a fun time for iconic dance moves, have you had fun incorporating some of them into the show?

CURTIS REED: You will definitely see some nods from Dirty Dancing and from a lot of the background singers/dancers of the DoWop groups that were popular in that time period. Super cute, nothing too crazy (except for Liam and Jenny’s fast-paced Stupid Cupid duet so be on the lookout for that one!)

JHP: What’s your favorite musical number in the show and why?

CURTIS REED: For me it’s a toss up. I love Laughter in the Rain because it’s the duet I share with Melissa’s Marge, where Gabe, in his own way, professes his affection for her. It’s super touching and still has that nerdy 16 Candles vibe that is so heartwarming. My other favorite is the only number in the entire show where you hear all six actors at once and that is the finale, Love Will Keep Us Together. I mean how can you not love that feel-good song made popular by The Captain and Tennille?! I’m almost certain we will have audience members singing along with us throughout the show with so many memorable songs by Neil Sedaka!

Rapid Fire with Breaking Up Is Hard To Do’s Harvey, Scott Stewart

JHP: How would you describe Harvey Feldman?

SCOTT STEWART: Harvey is a veteran comic and long time performer at a Catskills resort in The Borscht Belt. His roots are in Vaudeville. Harvey still loves what he does but is lonely- and ready to open up about it.

JHP: What’s your favorite aspect of playing Harvey?

SCOTT STEWART: 

My father had a lot of comedy albums and I grew up listening to the likes of Stiller & Meara, Mel Brooks, Carl Reiner, Fanny Brice, etc… many whom started in the Catskills. To get to pretend to be among those in a blast! And I’ve always been intrigued by the whole Catskills era of America. Getting to spend an entire summer in the mountains playing?! Wow!

JHP: The show features an all-Neil Sedaka songbook. Would you say you were a fan of his music prior to being cast in this show?

SCOTT STEWART: I am a fan of Neil Sedaka!  I really didn’t learn who he was til, as a preteen, I heard The Captain & Tennille sing Love Will Keep Us Together and in the fade out of that song they sing “Sedaka is back”. I think it was Casey Kasem that explained who that was one week, and then I started to learn more about him. But this show has some songs with which I was not familiar.

JHP: As Harvey, you share scenes with Vicki White’s Esther. You’ve done several shows together. How much fun is she as a co-star?

SCOTT STEWART: Oh man, she is the best!  Vicki has a unique way of rehearsing her characters and she puts so much thought into them, but it’s often not til late in the process when I see what she’s doing, and understand how to interact and play with her character. I love it! Keeps me from getting lazy.

Rapid Fire with Breaking Up Is Hard To Do’s Esther, Vicki White 

JHP: What is your favorite aspect of playing Esther?

VICKI WHITE: Nothing keeps Esther down. She is fun, feisty, and a survivor. 

JHP: When I chatted with Scott, I mentioned that you two share scenes. You’ve done a few shows together, right? Isn’t he just fantastic?

VICKI WHITE: Yes! I am lucky enough to have done many shows with the talented Scott Stewart.  He is funny, down to earth, and has a beautiful voice. This has been my first opportunity to play opposite of Scott as a romantic interest and it has been a blast!

JHP: The 60s, the Catskills…if you could go back in time and experience that in real life, what do you think you’d enjoy most?

VICKI WHITE: Fancy clothes and cocktails. Everything was such an event, from the different activities to dinner and shows. They made a vacation last an entire summer. I am a huge fan of Mrs. Maisel and Dirty Dancing. I would LOVE to time travel with my family for a vacation in the Catskills!

JHP: Looking at the songs included in the show, I gotta admit, even though I have always loved The Captain and Tennille’s Love Will Keep Us Together, I didn’t realize it was a Neil Sedaka song. (In case you’re keeping up, yes, that makes four for four with mention of this particular tune, but I digress) Are there any songs in the show you were surprised to learn he had written?

VICKI WHITE: I was so surprised to find out that he had written Where the Boys Are. I knew it as this iconic song from the sixties that I had always associated with Connie Francis.

Rapid Fire with Breaking Up Is Hard To Do’s Lois, Jenny Norris

JHP: You play Lois Warner. How is the character most like yourself?

JENNY NORRIS: She is loyal and would do anything for those she loves. I would say those are two big parts of who I am. 

JHP: As Lois, you’re best pals with Marge Gelman played by Melissa Silengo. Marge has been left at the altar and decided to bring her bestie Lois on the honeymoon instead. What’s the advantage of taking a girlfriend on your honeymoon?

JENNY NORRIS: Having a shopping buddy! 

JHP: Chaffin’s resident costumer, Miariam Creighton is providing the wardrobe for the show. What’s your favorite 60s aesthetic as seen in the show, whether it be part of Lois’ wardrobe or that of one of your co-stars?

JENNY NORRIS: I have enjoyed the high waisted look in shorts and pants for ladies. It has inspired several of my recent Poshmark purchases. Plus big volume hair is always a favorite of mine! 

JHP: Sedaka’s titular lyrics suggest that reconciliation is the solution. What do you think?

JENNY NORRIS: Well although he says breaking up is hard to do, I say sometimes being with the wrong one is harder. You’ll have to come see if Marge realizes it or not! 

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Melissa Selingo, Liam Searcy and Jenny Norris in a scene from “Breaking Up Is Hard To Do”

As Norris suggests, audience members will have their chance to see how Marge deals with her breakup as Breaking Up Is Hard To Do plays Chaffin’s Barn Dinner Theatre Thursday, February 6 thru Saturday, February 29. CLICK HERE or call 615.646.9977 for reservations. Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). Sunday matinees begin at 2 p.m. (with doors at noon for lunch service.

Thursday matinee tickets are $20 for show only or $28.50 for show and a Box Lunch. Evening show tickets are $18 for children 12 and under, $25 for youth/students and $47 for adults. 

Of course, being Chaffin’s Barn Dinner Theatre, they also offer a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional $15.95, while the ‘a la carte menu items (also quite tastily) range in price from $6.95 to $10.95. Plus there’s a wide array of dessert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu. 

On Friday, February 14, Chaffin’s will host a special Valentine’s Day performance of Breaking Up Is Hard To Do which will feature a special Valentine’s Day menu and three ticket level options. First, for $150 per couple, patrons can enjoy the show, buffet dinner, a bottle of champaign or sparkling cider, a special dessert plate with chocolate strawberries and cheesecake, a rose for that special someone and a chance to win some fabulous prizes. For $220, you can secure a private four-top table for two, plus all of the above-listed amenities. For $330, two couples can enjoy a private six-top table for four with all the above amenities. CLICK HERE to view the special Valentine’s Day Menu. Please call the box office to book these special reservations. 

To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

If you’ve enjoyed this edition of Rapid Fire, CLICK HERE to check out previous conversations. 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.


Rapid Fire Q&A with 2019 Clash of the Playwrights winner Jenny Wallace and cast members Jenny Norris and Curtis Reed; Wallace’s original farce, ‘Schooled’ debuts at Chaffin’s Thursday and Friday, January 23 & 24

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As the venerable theatre has done since 2017, Chaffin’s Barn held their annual Clash of the Playwrights competition midway through last year and announced Jenny Wallace’s Schooled as the 2019 winner. Part of the prize being a full-scale production on-stage at The Barn. Directed by Joy Tilley-Perryman, Wallace’s winning play, Schooled, a comedy farce, centers ‘round high school Principal Ramonda Clark as she juggles a typical day overseeing  summer school with the nonstop visitors to her office. Cast in the lead Jenny Norris, a favorite amongst Chaffin’s patrons. Alongside Norris is Curtis Reed—another fan favorite at Chaffin’s—cast as not one, but two fellow faculty members, Yanis, the vaguely foreign science teacher and Crawford Broderick, the eclectic drama teacher. 

Not only is the aforementioned Perryman directing, she also appears as three separate characters within the show. Adam Burnett also plays a myriad of characters and Daniel Devault appears as the Dean of Students. Rounding out the cast are Mileah Milstead, Daniel Keith Bissell, Annie Magan, Reyna Troi, and Mike Scott cast as several students, janitors, Parents, delivery guys and more. Aside from his role as the dean,  Daniel DeVault is also the show’s lighting director. Other behind-the-scenes assists are courtesy stage manager, Addison Oelze and technical director, Robin Lawshe. 

Having grown up with a Mom who was the assistant librarian at my high school, Schooled seems like it might hit a bit too close to home for me not to enlist playwright Wallace and co-stars Norris and Reed for yet another addition of my recurring interview feature, Rapid Fire Q&A.

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RAPID FIRE WITH SCHOOLED PLAYWRIGHT, JENNY WALLACE

Playwright Jenny Wallace

JHP: How did you come to enter Chaffin’s Barn Dinner Theatre’s Clash of the Playwrights?

JENNY WALLACE: I had wanted to submit a play to Clash of the Playwrights in previous years, but I wasn’t paying close enough attention and missed the deadline two years in a row. This year I had my act together (as much as it can be) and submitted my script, although Schooled is not the script I was going to submit previously.

JHP: How did you find out you had won this year’s competition?

JENNY WALLACE: I think I was on vacation in Florida late in the summer when I got a text from Joy Tilley Perryman telling me I had won.

JHP: Where did the idea for Schooled come from?

JENNY WALLACE: When I teach playwriting to my students, I have them write short plays (5-7 pages) and insist that their plays be set in a school. Every time I teach the unit I vary my instructions just a bit. Each time they write a play I write my own play alongside them, following my own instructions. (To see if they make sense lol.) Some of the vignettes in Schooledwere born from this process, others have some roots in my own personal experience as an educator, and some of them are brand new. At the same time that I was putting the script together, I had the phrase “strong woman” rolling around in my head and it bothered me. That phrase implies that all women aren’t strong. All of the women I know are strong, their strengths just manifest themselves in different ways. So, I decided to make the story about a capable, confident woman just trying to do her job. But Ramonda, the high school principal and protagonist of the play, isn’t perfect. She tries to be all things to all people in her work life, but her relationships with her family sometimes suffer for it. I hope that the audience—especially women—will see some of themselves in her.

JHP: Having appeared in shows at Chaffin’s yourself, how does it feel to know your show is in such capable hands with director Joy Tilley Perryman and her cast?

JENNY WALLACE: I did my first show at Chaffin’s in 1994, and Joy came to the barn shortly thereafter. So, I have known her for a really long time! I am so excited that she is directing the play. She knows both the Barn “style” and my sense of humor, and I think she will marry the two well. The cast also contains quite a few of my friends, actors whom I have worked with, and who’s work I admire. As an actor myself, I tried to write characters that actors would be excited about playing. Joy has put together a fantastic cast and I can’t wait to see the show!

RAPID FIRE WITH SCHOOLED STAR, JENNY NORRIS

“Schooled” star Jenny Norris as Ramonda Clark

JHP: You’re cast in the lead role of Ramonda Clark in Schooled. What can you tell me about her?

JENNY NORRIS: She is like a lot of working moms. Dedicated to her work and the lives of the students she interacts with but sometimes has difficulty juggling it with her family  life. She is fair and caring, hardworking and kind. Deep down she is a little jealous of the drama teacher though.   

JHP: Many of your co-stars appear in multiple roles within the show. How chaotic does it get remembering who’s playing whom?

JENNY NORRIS: It was at first for sure! And so many people come in and out of my office there were plenty of times when I had no idea what scene was about to happen and just stared blankly at them. But I work with the best of the best and they were always good at saving me when they would see the terror in my eyes! 

JHP: What’s your favorite part of bringing a character to the stage from a new work, as opposed to playing a more well-known role with which the audience is already familiar?

JENNY NORRIS: Supporting new works is very important to me so I was thrilled to have the opportunity to be a part of it. And while I love bringing any character to life with my own version, starting from scratch really gives a unique freedom that I don’t get too often. It’s been fun to take hints from the text and my interactions with the characters my co actors have created to make a real person I feel people will relate to and sympathize with.

RAPID FIRE WITH SCHOOLED CO-STAR, CURTIS REED

“Schooled” co-star Curtis Reed

JHP: Is there a certain added sense of pride in being part of Schooled, considering you know the playwright?

CURTIS REED: The first show I ever did at Chaffin’s Barn was with Jenny Wallace. I have done several shows with her since. I have a special place in my heart for her and I love the fact that I get to be a part of the inaugural performance of her original play. It’s quite funny, and as someone who has taught in some capacity since the age of 17, I FULLY relate to what happens to the main character in this piece.

JHP: You’ve touched on this a little, but, how exciting is it to be part of a new play as it makes its Chaffin’s Barn debut?

CURTIS REED: VERY! No one has interpreted these characters yet so you get to be the pioneer in a way and trailblaze with how people will see these characters for the first time. You even get the chance to create something so iconic, that the writer might go back and add ad-libbed lines or nuances you created for the character into the script, so it is forever there. 

JHP: What can you tell me about the characters you play in Schooled?

CURIS REED: I am definitely a large part of the funny in this show, thanks to how my characters are written by Jenny Wallace. I play Yanis, the indeterminately foreign science teacher who thinks it’s in his best interest to warn the principal that the videos he is watching are of an educational nature….. I don’t want to give too much away. Then I play the very eccentric and out there drama teacher (Typecasting?) where I get to sing at the top of my lungs and be wild and crazy. It’s very freeing and what we have created on stage is sure to please. Of course, having Jenny Norris as your scene partner just makes everything that much easier to experiment and play around. 

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Chaffin’s is presenting the World Premiere of Schooled with a matinee performance Thursday, January 23 and an evening performance on Friday, January 24. The Thursday Matinee is a free performance to all industry people. CLICK HERE or Call 615.664.9977 for reservations, ticket prices and more information.

Next up at Chaffin’s is The Barn Dating Game, a live, local twist on the classic TV gameshow on stage for one night only on Saturday, February 1. CLICK HERE for tickets or more information. Then, from February 6-29 Chaffin’s will present Breaking Up Is Hard to Do, a musical featuring the songs of Neil Sedaka. CLICK HERE for tickets or more information.

To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

If you’ve enjoyed this edition of Rapid Fire, CLICK HERE to check out previous conversations. 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.

Rapid Fire Q&A with Pipeline-Collective’s David Ian Lee; ‘Star Wars Holiday Special LIVE’ staged reading at Jamison Hall tonight, Wednesday, December 11

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Having made my parents stand in line at the Belle Meade Theatre back in the spring of 1977 to be among the first of my friends to see the original Star Wars movie, you better believe I eagerly sat inches away from my 13″ black and white TV in my bedroom later that next year to tune into The Star Wars Holiday Special. You also better believe I totally geeked out when I heard Pipeline-Collective‘s Producing Artistic Director David Ian Lee was assembling some of Nashville’s favorite theatre folk to recreate the classic, beloved and yes, oft ridiculed holiday special LIVE on stage!

A long time ago in a galaxy far, far away….OK, OK,…last week–by way of email–I I had the chance to pose a few questions to Lee for the latest installment t of my recurring interview feature, Rapid Fire as he and his cast prepared to go where no man has gone before….Oh, wait! Wrong franchise…as he and some of my theatre crushes take to The Factory at Franklin‘s Jamison Hall on Wednesday, December 11 to present a one-night-only staged reading of The Star Wars Holiday Special benefitting Make-A-Wish.

RAPID IFIRE WITH THE STAR WARS HOLIDAY SPECIAL LIVE DIRECTOR, DAVID IAN LEE

JHP: I’m old enough to have actually tuned into the one and only televised broadcast of the original Star Wars Holiday Special. When did you first become aware of it?

DAVID IAN LEE: Growing up you’d hear whispers about the special, but the whole thing sounded like a fever dream or like some kind of prank. In the late 90s – as the Internet became a thing and George Lucas started to talk about making Episodes I, II, and III –clips and images began to circulate, and any evidence that the special had once existed was like catnip.  In 2003 I bought a bootleg on eBay, and when the package arrived I felt I’d obtained explicit contraband. I took a day off of work to watch it, I was so pumped… and then I watched it. Whatever you’ve heard about The Star Wars Holiday Special – however you might imagine it in your mind – it’s like the Grand Canyon or The Matrix: You have to see it for yourself. 

JHP: Where did the idea come from to present a staged reading of the special?

DAVID IAN LEE: My wife, Karen also happens to be my co-Producing Artistic Director, which means that we talk a lot about Pipeline and also a lot about Star Wars; or, maybe more accurately, she listens to me talk a lot about Star Wars. I call myself a Completist in that I watch and I love it all: The original films, the prequels, the Ewok movies, every animated series, and, yes, even the Holiday Special. About a year ago I got my hands on a copy of an original shooting script, and an idea began to form that we might adapt the text into a staged reading: We’d retain as much dialogue as possible, translate descriptive action into narration, and substitute any copy written music with more earthly holiday songs. And we’d lean into the camp. I’d tell people about my half-ironic passion project, and I was encouraged that responses ranged from enthusiastic to emphatic that we had to do this. Karen wasn’t sold right away; the Holiday Special is an obscure bit of ephemera for folks who haven’t seen it, and for people who have… Well, they’ve seen it. While I was away on a job this summer I spent my downtime adapting the shooting script, and when I got home we had a reading of the piece in our living room with a bunch of friends and collaborators. Everyone’s sides hurt from laughing, and with that the die was cast for A Very Special Live Staged Reading of The Star Wars Holiday Special: LIVE, On Stage… and Special! (or AVSLSRoTSWHS:LOS…AS! for short), provided we could find the right charitable organization to support and a space that would have us. The second concern resolved itself when Benji Kern generously offered Studio Tenn’s space on a dark night to stage the reading. 

JHP: For those not familiar, can you tell me a bit about Pipeline-Collective?

DAVID IAN LEE: Pipeline-Collective’s work is guerilla-style, with emphasis on the craft of the actor, dynamic storytelling, and theatrical magic on a shoestring budget. We foster relationships and collaborations that cross state lines and into non-arts realms. Through innovative programming such as the Playground Series (which seeks to make “dark nights” a thing of the past), The Salon (a new works project run in collaboration with Studio Tenn), and theatrical benefits that call attention to the work of charitable organizations, Pipeline-Collective extends the reach of the arts, empowering theatremakers to tell their stories.

JHP: The special performance will benefit Make A Wish Foundation. How did this partnership occur?

DAVID IAN LEE: Pipeline’s inaugural production was Anne Nelson’s The Guys, presented on the anniversary of September 11th by a team almost entirely comprised of expat New Yorkers. Proceeds benefited the FealGood Foundation, whose mission is in service of first responders. We found such value in that project that now about once a year Pipeline presents a theatrical event intended to raise awareness of and funds for a charitable organization. When we decided to explore an adaption of The Star Wars Holiday Special, we knew that we wanted to create a theatrical benefit, but finding the appropriate charitable organization took some time. The 501st Legion is such a wonderful organization, with a mission equally devoted to having fun and doing good work. The 501st Legion Make-A-Wish Endowment Fund allows Make-A-Wish America and Make-A-Wish International to grant Star Wars-related wishes to children diagnosed with life-threatening medical conditions. We’re thrilled to do our small part to contribute to this worthy cause.

JHP: What can you tell me about the cast you’ve assembled for the staged reading?

DAVID IAN LEE: The problem with this cast is that they’re all impossibly brilliant, and every one of them – in a “normal” show – could be regarded as a ringer. Of course, AVSLSRoTSWHS:LOS…AS! is anything but normal, and when you’ve got a cast overflowing with ringers it means that what you really have is just a damn fine cast. There are too many people to single out individually, and I don’t want to give anyone short shrift, so let’s just say I just cannot believe our good fortune to have such a company. We’ve been posting images of our performers to Facebook and Instagram, so folks should check out the embarrassment of riches there. We have such a marvelous aggregation of Nashville’s theatrical talent! 

JHP: Most staged readings are simply actors sitting on stage reading the script, but the show is billed as A Very Special LIVE staged reading The Star Wars Holiday Special, Live on stage…and SPECIAL! So, I gotta ask…what makes it so special? 

DAVID IAN LEE: Well, a fine dose of hyperbole and humor goes a long way towards making the case for satire, but also  – though our reading has great affection for the Holiday Special  – we do treat the 1978 variety show as a jumping-off place, resulting in what Lucas might have called “a few new surprises.” Our narrative is streamlined, and our musical numbers are intended to evoke the spirit of the original special while commenting on the absurdity of the whole endeavor – plus, we send folks back into the street giddy with holiday cheer. And, I mean, how many staged readings feature appearances by the Dark Lord of the Sith and the man with the bag?

JHP: As a legit fan of the original special, which includes an animated segment that introduced Boba Fett, a full two years before his film debut in 1980’s Empire Strikes Back, I’m curious…how do you plan on presenting that in the staged reading? 

DAVID IAN LEE: Tragically, certain aspects of the original special didn’t translate to our reading, including a ten-minute animated sequence created by Nelvana Ltd.  People have fond memories of this sequence: the animation is cool, the voice performances include Carrie Fisher, Harrison Ford, and Mark Hamill, and Boba Fett is introduced in appropriately mysterious and sinister fashion. For a time, we explored different ways of translating the animated sequence to the reading; we talked about puppets, about acting the sequence out with action figures, about piping the actual audio into the theatre. But, at the end of the day, a problem remained that the animated sequence itself is a self-contained in-universe short film that Chewbacca’s son, Lumpy, watches in order to distract himself from dangerous Stormtroopers that have forced their way into his home. We wanted to keep our focus on Chewie and his family, and so: This is the way.  Still, for those seeking some sweet, sweet Mandalorian action, might I strongly recommend Disney+.

JHP: Another aspect of the original special that I love was the appearance of Diahann Carroll as Mermiah, a holographic entertainer. I totally stan Meggan Utech, who’s cast as Mermiah. What can you divulge about her performance?

DAVID IAN LEE: Do not allow my previous answer to crush your spirits on Life Day: Oh, Mermeia absolutely appears in our reading! How could she not? The infamous sequence in which Chewbacca’s father, Itchy, is given a mind-evaporator cassette by Art Carney and conjures up a Holographic WOW is, frankly, one of the things that drives people to seek out bootlegs of The Star Wars Holiday Special. The original sequence is readily available on YouTube – as is the full special – and I strongly encourage anyone curious as to why the special is considered to be something halfway between camp and a synaptic breakdown to check it out. Meggan’s Mermeia is delightful, evoking the spirit of Diahann Carroll’s iconic performance while finding her own fun, playful, flirtatious take on the character. Instead of This Minute Now, she’ll be singing a song that’s equally appealing while in the vein of our take on the material. 

JHP: Pipeline-Collective’s AVSLSRoTSWHS:LOS…AS! is a one-night-only event. Any chance for a fully fleshed-out stage production with an extended run in the future?

DAVID IAN LEE: Here and now there’s so much spectacular storytelling happening in Star Wars: I was in California for the opening weekend of Galaxy’s Edge (which means I’ve yet to experience Rise of the Resistance). All I want for Christmas is Jedi: Fallen Order (and I know my co-Producing Artistic Director is reading this, so that’s a cheap plug). The Mandalorian and Resistance are great television programs. And, of course, a week after our reading I have tickets to Rise of Skywalker. But… Who knows? Pipeline has yet to announce our summer programming. And always in motion is the future.

JHP: What’s you holiday wish for family and friend this Life Day season? 

DAVID IAN LEE: I try to write a daily inspirational quote on my office door. The only quote I repeat is Princess Leia, from The Star Wars Holiday Special, which I write every year at this time: “No matter how different we appear, we’re all the same in our struggle against the powers of evil and darkness. I hope that this day will be a day of joy, in which we can reconfirm our dedication and our courage. And, more than anything else, our love for one another. This is the promise of the Tree of Life.”

What better way to end out chat than with a quote from Princess Leia herself? As for AVSLSRoTSWHS:LOS…AS!, you’re only hope of witnessing this one-night-only benefit event at Jamison Hall inside The Factory at Franklin (230 Franklin Road, Franklin, TN) is to CLICK HERE to purchase tickets. This event is General Admission. All tickets are $15. Members of The 501st Legion will be on-hand to take photos with those in attendance so be sure and arrive when the doors open at 6:30p.m. to give yourself time to enjoy an extra bit of fun before the 7:30p.m. curtain.

Can make it tonight, but feeling generous as Life Day approaches, CLICK HERE to make a donation to Make-A-Wish.

To keep up with the latest from Pipeline-Collective, find them online at Pipeline-Collective.com, ’like’ them on Facebook and Instagram.

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.

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.

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.

Rapid Fire Q&A: A ‘bisl of a schmooze’ with Mel Weyn, Natalie Powers and Ruthy Froch, three of Tevye’s five daughters in ‘Fiddler on The Roof’; National Tour in Nashville at TPAC’s Jackson Hall thru Sunday, June 30

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The current National Tour of Fiddler on the Roof—based upon director Bartlett Sher’s triumphant 2015 Broadway revival, opened in Music City last night, Tuesday, June 25 at TPAC’s Jackson Hall. Just days before the touring company made their way to Nashville, I had the opportunity to pose a few questions to Mel Weyn, Natalie Powers and Ruthy Froch, who play the three eldest daughters Tzeitel, Chava and Hodel to Yehezkel Lazaro’s eponymous roof-fiddling Tevye, for the latest installment of my recurring interview feature, Rapid Fire Q&A. What follows are our conversations about the show, their relationships on and off the stage and their thoughts about being part of such a legendary show steeped in tradition.

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Natalie Powers, Mel Weyn and Ruthy Froch (l to r) star as Tevye’s eldest daughters in Fiddle on the Roof, at TPAC thru Sunday. (all photos by Joan Marcus/courtesy FiddlerMusical.com)

RAPID FIRE Q&A WITH FIDDLER ON THE ROOF’S ELDEST DAUGHTERS RUTHY FROCH, NATALIE POWERS AND MEL WEYN

RAPID FIRE WITH FIDDLER ON THE ROOF’S TZEITEL, MEL WEYN

JHP: What can you tell me about Tzeitel?

MEL WEYN: Tzeitel is Tevye and Golde’s eldest daughter in Fiddler on the Roof. She is like the mini-mama of the family. Full of heart and compassion but also has a fire to her. She is so brave and speaks her mind, but it always comes from a place of fierce love. I really admire her spirit and courage to be the first of her family to defy/question the rules of this society and the traditions.

JHP: From my research in preparing to chat with you, I discovered you’re not only playing the eldest sister in Fiddler, but you’re also a big sister in real life. Do you think your own sisterly dynamic has helped you bring Tzeitel to life on the stage?

MEL WEYN: I am! And I do. I love my sister so much (hey Becca). I think having my younger sister in real life made it really easy to tap into that dynamic with my new onstage sisters. Being the oldest comes naturally to me and I hope it comes across that way onstage. Getting to work and travel with Ruthy, Natalie, Danielle Allen and Emmy Glick in this capacity has been really interesting to witness in how our sisterly dynamic grows and changes over the months. My individual relationships with them seep into the onstage performances making them that more layered and rich. I feel so lucky to have had these gals by my side this year – they are all wonderful

JHP: This isn’t your first national tour, having previously toured with The Sound of Music. It’s also not your first time playing Tzeitel, having played her back in 2012 during a summer stock production at the Arrow Rock Lyceum Theatre in Missouri. So this question is two-fold…What’s your favorite aspect of life on tour?…and…How has your portrayal of Tzeitel changed now that you’re seven years older than when you first approached the character?

MEL WEYN: Oh wow! I love touring for a plethora of reasons. I love to travel and see new cities – there are so many that I would have never have gotten a chance to visit if it wasn’t for touring. So many amazing small town coffee shops to visit and sites to see. I try to go to a museum in every city we have visited on Fiddler. I also love the family it gives you. Being away from home for a year at a time is tough but, you are all in it together. The bonds I have made with this cast are life long and that is something so special.

I think that I understand Tzeitel much more than I did seven years ago. I can comprehend the gravity and reality of her situations in a deeper way after having a little more life experience. She loves Motel with her entire heart and the possibility of not getting to be with him is a heartbreak in of itself. On top of that, she gets betrothed to the butcher who is less than appealing. To really lock in to those stakes and ground her reactions from a place of truth has been easier this time around. Instead of playing the idea of being hurt or the idea of who the character of Tzeitel is, I find her coming from my core. Breathing in the situations and scene partners in front of me and responding in a more authentic way.

JHP: Fiddler opens with Tradition, one of the show’s many memorable tunes. What’s a family tradition you hold dear?

MEL WEYN: My family and I are very close. Every summer my dad’s whole side of the family spends a week together at the beach in North Carolina and its something we all look forward to. Not because of the nice summer location or the amenities (although those aren’t so bad), but the time with one another. We all live in different parts of the country so the time we get to connect and spend together is cherished. They are hilarious and giving and we always have a great time. I am really thankful for a family that makes it a priority to be with each other. The sense of community and ritual that comes along with an annual gathering is one of a kind. I definitely feel the parallels of that family trip with moments in our show.

JHP: I’m about to chat with Natalie and Ruthy, so…How would you describe these two on-stage sisters?

MEL WEYN: Oh they are wonderful. I remember the first table read being so impressed by both of them and the portrayals of Hodel and Chava and, how as a trio, we fit together so well. Ruthy is a peacekeeper by nature – so compassionate and understanding with everyone she encounters. Natalie is so multi-talented and has this quiet humor and wit to her that always gets me. I am really thankful for both of them and this journey we have gotten to take together. They will always be my sisters and I can’t wait to continue these friendships outside of the show where it all started.

RAPID FIRE WITH FIDDLER ON THE ROOF’S HODEL, RUTHY FROCH

JHP: From your perspective, who is Hodel?

RUTHY FROCH: Because Fiddler on the Roof focuses on Tevye’s three eldest daughters, I like to think of Hodel as the middle child. You have Tzeitel, who is Mama’s favorite, and the first for everything, and then you have Chava, everybody’s favorite child, and then there is Hodel in the middle. She is super intelligent, and quick-witted. In my eyes, she wants to find where she belongs, where someone sees her for who she truly is, where she can be important.

JHP: I understand this is your first national tour. What’s it been like thus far?

RUTHY FROCH: It truly has been such a dream! Touring is such an incredible way to see the nation, and it’s really bringing out the explorer in me. It has been such a gift to tell this important story in so many different cities, and share my love for Fiddler, and my culture with so many different people!

JHP: While Hodel is one of five, my research revealed that you yourself have a large family. Where do you fall within your sibling birth-order and has having a big family affected your take on Hodel and the way she interacts on stage with her sisters?

RUTHY FROCH: I’m actually the oldest in my family! I have a younger brother, and I’m the first grandchild on both my mom and my dad’s side. I’m really close with my cousins so it does feel like they are siblings in a way. Watching everyone grow up in my family and being the oldest allowed me to see how everyone has their “role” in the family. It definitely affected how I interact on stage with my sisters and my creation of Hodel.

JHP: So much of Fiddler’s appeal—at least to my way of thinking—comes from the deep history of the Jewish faith and culture. A prime example, the gorgeous and intricate choreography. What can you tell me about the show’s choreo?

RUTHY FROCH: The choreography in our production is very grounded, pedestrian, and in my opinion so traditionally Jewish. Hofesh Shechter, our choreographer, reimagined Jerome Robbins’ original choreography. Fiddler has such iconic moments, like the bottle dance, filled with such excitement and tension. I love to hear audiences reactions to our wedding dance, whether they are cheering throughout or clapping along, it really is something we can all experience together. Hofesh’s choreography is specific and intentional, it all blossoms out of the circumstances and helps to move the characters forward.

RAPID FIRE WITH FIDDLER ON THE ROOF’S CHAVA, NATALIE POWERS

JHP: You’re playing Chava, Tevye’s middle daughter and the youngest of the three eldest siblings at the center of the show’s action. Sharing that older daughter dynamic onstage with Ruthy and Mel, I’m curious, have you all developed a sister-like bond that continues during your off-stage time?

NATALIE POWERS: Definitely! This whole tour cast has started to feel like family. All four of my onstage sisters have been a wonderful support system on the road. I know who to go to for every occasion too — whether it be for a laugh, to vent, to cry or even just for a hug.

JHP: What aspect of Chava’s personality do you wish you could emulate more in your own life?

NATALIE POWERS: Her voracious appetite for reading! I personally love reading, but in a leisurely way. I would love to read books cover to cover every day like she does!

JHP: Being a period piece, the costumes for Fiddler are always beautiful. Do you have a favorite look in the show, whether it be yours or someone else’s?

NATALIE POWERS: I am so in love with Catherine Zuber’s designs for this show. I have a purple vest that I wear during Matchmaker that has a lot of intricate quilting work. I would have to say that is my favorite piece!

JHP: That’s a perfect lead-in to my next questions…Matchmaker is among the show’s most recognizable musical moments. Have you ever played matchmaker, or been the recipient of matchmaking?

NATALIE POWERS: I actually have not! I have noticed that people tend to gravitate towards similar minded people and like to watch matches happen organically that way!

JHP: On a broad,more obvious scale, Fiddler is about family, tradition and change. Is there an underlying theme within the show that you’ve discovered while performing the piece night after night?

NATALIE POWERS: Through Chava’s storyline, I’ve realized that what you take out of the show really depends on where you are in your own life. For instance, a mother seeing the show will absorb something totally different than a son. One of the lessons that resonates with me right now is that sometimes you have to make choices that are right for you, knowing that it may not be possible to please everyone.

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My conversations with Tevye’s eldest daughters may have ended, but it’s just the beginning of your chance to get in on the family celebration as Nashville tour dates of Fiddler on the Roof continue at TPAC’s Jackson Hall through Sunday, June 30. Remaining performances are Wednesday and Thursday at 7:30p.m., Friday and Saturday at 8p.m. Saturday matinee at 2p.m., Sunday matinee at 1p.m. and a final Sunday evening performance at 6:30p.m. Tickets range in price from $40 to $100. CLICK HERE to purchase tickets or for more information.

On Monday, TPAC announced a digital lottery for $25 tickets to Fiddler on the Roof that is available via the TPAC Concierge app. The lottery is open from 10:00 a.m. – 4:00 p.m. the day before the show patrons wish to see. Winners will be notified a few minutes after the lottery closing time and will have 60 minutes to accept/purchase the tickets. CLICK HERE for more information on the digital lottery, or CLICK HERE to download the TPAC Concierge App via the Apple App Store or CLICK HERE to download the app via Google Play.

Not in Nashville, but want to be part of the Fiddler on the Roof simkhe? Following their Nashville tour stop, Fiddler continues on through spring of 2020 with upcoming engagements across the US. CLICK HERE for specifics. You can also follow Fiddler on the Roof via Facebook, Twitter, Instagram and YouTube.

While Fiddler on the Roof closes out TPAC’s current Broadway Season, they’re hard at work on the 2019 TPAC Gala, an annual fundraising event that helps support the organizations educational, cultural and outreach initiatives. This year’s Gala theme, is Hamilton, in anticipation of the landmark musical’s upcoming Nashville debut as part of the 2019-2020 season.

Then it’s on to TPAC’s next Broadway Season  with the Music City premiere engagement of Dear Evan Hansen on stage at TPAC September 10-15. CLICK HERE for Season Ticket options.  To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram as well.

If you’ve enjoyed this installment of Rapid Fire, CLICK HERE to check out previous chats with local and national theaterati. 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 20 Q: Conversations from The Emerald City as The Larry Keeton Theatre celebrates Opening Weekend of ‘The Wizard of Oz’ directed by Jef Ellis

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When you consider the fact that L. Frank Baum’s beloved The Wizard of Oz was originally released in book form in 1900 and the equally-iconic MGM musical movie adaptation itself is celebrating it’s 80th anniversary this year, it’s really no surprise that all things Oz continue to be just as mesmerizing all these years later. Proof that the story of young dreamer Dorothy Gale’s first visit to the enchanted Land of Oz is still an audience favorite is evident in the fact that The Larry Keeton Theatre opened their production of the stage adaptation earlier this week with shows continuing at the popular Nashville area dinner theatre, with performances continuing through June 29.

To celebrate Opening Weekend, I recently had an opportunity to chat with the show’s director, Jef Ellis as well as four members of his cast including Emma Brown, who plays Dorothy, J. Robert Lindsey, who’s cast as The Tin Man, The Cowardly Lion’s Sara Kistner and Thomas Gentry, who’ll be performing the role of The Scarecrow for an All-In, All-Oz Rapid Fire 20 Q.

Sara Kistner, J. Robert Lindsey, Thomas Gentry and Emma Brown in The Keeton Theatre’s “The Wizard of Oz”

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RAPID FIRE 20 Q WITH DIRECTOR & CAST OF THE LARRY KEETON THEATRE’S THE WIZARD OF OZ

RAPID FIRE WITH THE WIZARD OF OZ DIRECTOR, JEF ELLIS

JHP: What’s your first memory of The Wizard of Oz?

JEF ELLIS: I grew up as part of a generation who watched the movie on TV once a year and my earliest memory is being scared to death of those flying monkeys. In fact, we’d have to switch off the TV every time they made an appearance. I don’t think I ever saw the entire film until I was well into adulthood and could manage my flying monkey phobia with grace.

JHP: Having interviewed you in the past, I’ve noted that whenever you direct a piece that’s as beloved for its cinematic adaptation as it is its stage version, you always manage to pay homage to the Hollywood incarnation. Can you reveal, or at least tease, how you’ve achieved this with this production of Oz?

JEF ELLIS: The script is very much like the screenplay, down to the stage directions. But because I love classic films of this particular era, I have chosen to honor the golden age of Hollywood — specifically 1939 — with some of the expected tropes of moviemaking of that time and when I’ve talked about it with my cast members, I’ve often used references to the stars of that era and we’ve attempted to give the Kansas scenes a sense of classic black-and-white filmmaking and acting for the camera. It is subtle, but it’s there and it helps inspire my talented cast.

JHP: What aspect of this production has brought you the most joy as a director?

JEF ELLIS: Believe it or not, it’s working with young actors, particularly the very young actors who play a variety of roles from Munchkins to Ozians to the Wicked Witch of the West’s flying monkeys. Introducing this beloved film to a new generation is both an awesome and daunting experience. When we first started, I felt rather at sea insofar as what I was striving to do with this particular show, but one day during rehearsal, I restaged the Act One finale (the approach to the Emerald City after the experience in the field of poppies) and it suddenly dawned on me what the show is actually about and how impactful it can be on audiences, whether they are veterans like me of seeing the movie annually for years and years or if they are only just now being exposed to it.

JHP: Why does The Wizard of Oz endure?

JEF ELLIS: To my way of thinking, it’s a uniquely American fairy tale — the story of one young girl’s search for who she really is and what is most important to a life well-lived, told in a distinctly American way. I think far too often The Wizard of Oz becomes the focus of academics who try to foist their own meaning upon the story — and lord knows, I love that kind of stuff — but when I read more about L. Frank Baum and what he was trying to do, it opened up vast new vistas for me as far as storytelling is concerned. To me, the best thing about live theater is its ability to transport and to transform and there is perhaps no show I’ve directed in my career that better subscribes to that belief. The Wizard of Oz is the quintessential American fairy tale that instantly whisks audiences away to a vividly imagine world quite unlike any you might imagine on your own. Because of that, the story is timeless and we can all find something about it with which we might identify.

RAPID FIRE WITH EMMA BROWN, DOROTHY GALE IN THE WIZARD OF OZ 

JHP: Frank Baum’s The Wizard of Oz is easily one of the most beloved stories ever. What’s it like to be cast as Dorothy Gale?

EMMA BROWN: If you play an iconic character, comparisons to the original are inevitable. That kind of pressure is an exciting challenge because it’s all about bringing some of the magic from the classic to the stage. A little magic and a lot of dog treats.

JHP: Arguably, the 1939 film adaptation is just as popular, if not more so, than the classic novel. Were you a fan of either incarnation before auditioning for this production?

EMMA BROWN: We had The Wizard of Oz movie on VHS when I was little, and I used to rewind the scenes and act them out alongside the TV. One of my favorites was throwing myself off our couches to reenact when Judy Garland falls into the pig pen. Unfortunately, the stage version does not have that scene, because I would have been thoroughly prepared.

JHP: While researching to chat with you and your fellow Ozians, I ran across a recent Oz-related post on your social media in regards to your recent birthday. Care to share what your parents did to celebrate your birthday and you being cast as Dorothy?

EMMA BROWN: My mom labeled yellow napkins with letters that said, “Follow the Yellow Brick Road,” and she put them on the floor leading to the kitchen, where my Dad hung a Wizard of Oz poster that he drew himself. It had the Lion, Scarecrow, Dorothy, Tin Man, the Emerald City, apple trees, rainbows, it was incredible. The thoughtfulness of those two almost made up for the fact that Dad used up all my markers.

JHP: Somewhere Over the Rainbow is simply iconic. Do you have a favorite phrase amongst the lyrics that kind of gets you every time you sing it?

EMMA BROWN: “…And the dreams that you dare to dream, really do come true…” I love that lyric for two reasons: it speaks to anyone with passion, ambition, and hope, and it’s the only place in the song where I get to breathe.

RAPID FIRE WITH THOMAS GENTRY, THE SCARECROW IN THE WIZARD OF OZ

JHP: Which of The Scarecrow’s characteristics do you share—or would you love to adopt?

THOMAS GENTRY: Oh man, The Scarecrow and I have more in common than I ever realized. Perhaps the most obvious might be my general absent-mindedness (yeah yeah, pun-intended). Ask anyone who’s ever tried to leave the house with me; I can NEVER find my keys, wallet, phone, etc. Also, like the Scarecrow, I’m an external processor so I often put my foot in my mouth by spewing unfiltered babble or asking questions with obvious answers. I will say however, that I admire the Scarecrow’s unwavering and selfless love and support of Dorothy. To me that’s a very endearing characteristic of the Scarecrow and something that I’d like to demonstrate in any friendship.

JHP: Alright, I just gotta say…with your hair, did you initially audition for The Cowardly Lion? Because your mane is epic! But on to my real question….The Scarecrow is surprisingly a very physically demanding role. Do you have a dance background?

THOMAS GENTRY: Haha, ya know, I didn’t. But it’s been brought to my attention that I perhaps should have. Maybe I’ll lop it off for Sara, our Lion, to make a wig out of. Anyway, you are not lying about the Scarecrow being a physically demanding role. After being cast, I began watching so many different performances where the Scarecrow was doing full splits and jazz pirouettes. I thought, “uh oh.” But I do have a background of basic ballroom dancing and a shameless enthusiasm to brave any dance-based aerobics class no matter how outnumbered I am by middle-aged moms. Throw that in with a history of various board sports that have taught me how to roll and fall and I’d say I’ve attempted to adapt the part to the floppiest, most energetic version of my skill-set. Knee pads help a lot too.

JHP: One of my absolute favorite Scarecrow lines is, “Some people without brains do an awful lot of talking, don’t you think?” Given today’s social and political climate, do you expect to get big reactions from that line?

THOMAS GENTRY: I know, right? When I first read the script I thought “Oh my gosh, how did they know?” It just seemed perfectly timed. A little more research led me to the fact that the L. Frank Baum’s 1900 novel The Wonderful Wizard of Oz was always intended to be somewhat of a political allegory. Much of the allegorical structure remained in tact in the beloved 1939 film which popularized the line in question. The genius of this line is that it will always be relevant no matter who’s doing a lot of talking or who’s in power at any given time. That said, I, like every person who has heard this line since 1939, do think it seems most applicable considering today’s social and political climate and I certainly hope for big reactions from that line.

JHP: While this interpretation of The Wizard of Oz follows the 1939 film adaptation very closely, one sequence that was cut from the film, The Jitterbug, was added back to this stage version when it was first produced by the Royal Shakespeare Company In 1987. What can you tell me about this number and the show’s choreography as a whole?

THOMAS GENTRY: Initially, it seemed that much of the cast had a love/hate relationship with this number. Ya know, no one’s really heard it, it’s not exactly a crowd favorite upon first listen, and it’s certainly not the 80’s Wham hit that I first think of when I hear Jitterbug. That said, it’s one of only two instances where the leads get to sing and dance with the entire ensemble, so The Jitterbug is actually key during the second act to give the audience a little something spicy and fun featuring almost the entire cast. And ya know what? It’s actually become a pretty cool number. Our choreographer, Kevin Raymond, has really turned it in to something nice. He’s done a great job of adapting the film’s choreography to the stage, while still maintaining the look and feel of the film’s original dance numbers that the audience expects to see.

RAPID FIRE WITH SARA KISTNER, THE COWARDLY LION IN THE WIZARD OF OZ 

JHP: The Cowardly Lion is typically played by a male, so…are you playing the role as a gender-flip? non-binary? or in male drag?

SARA KISTNER: The best way to describe the way I am playing the Cowardly Lion is a mix of gender flipping and non-binary factors. I know it is difficult to technically do both, but we changed words like him to her and king to queen, but I am trying to remain true to the Cowardly Lion as everyone knows “him”. I play the Lion with a deeper voice but Queen of The Forest may catch you by surprise. I am using that gender battle of Men are tough and Women are gentle and trying to place myself amongst the other characters to really play up each of the Lion’s hurdles with courage.

JHP: When playwright John Kane and the Royal Shakespeare Company revisited the story of Oz for this iteration’s debut in 1987, the costumes were based on a combination of both the original illustrations by William Wallace Denslow from the 1900 1st edition of Baum’s book and Adrian Adolph Greenberg’s legendary costumes designed for the 1939 film adaptation. Who designed the costumes for The Keeton’s production and what’s your favorite aspect of them?

SARA KISTNER: Our costume designer Cary Street, is recreating Glinda, Dorothy, Tinman, Scarecrow, and Lion as we all remember them whether it is the film or the stage adaptation, while taking our ensemble and giving them some flare and originality. My favorite aspect of our costumes would have to be the color scheme for our ensemble members, everyone pops in their own way on stage!

JHP: Earlier this year you worked with Jef as a member of his cast of Singin in the Rain and now in Oz. While composing questions to ask you and your fellow Yellow Brick Roadies, it dawned on me, Jef is a bit like the Wizard isn’t he? I’m curious…in the spirit of Oz, what’s something surprising you’ve learned about Jef…behind the magic curtain?

SARA KISTNER: Jef is in fact a lot like Oz, he goes wherever the wind takes his balloon. We all know Oz as this big scary spectacle of a being that no one really knows much about other than the obvious, I believe that is true for Jef as well, to a degree. The way Jef directs is very much straight to the point, and we as his cast are to follow his instructions in order to reap our rewards. The difference between Jef and Oz is, Oz is pretending to be something he is not, Jef remains true to himself and his demands are for the best of the production he is working on at the time. Once the cast has completed their tasks and we begin the run of our show, that is when Jef comes out behind the curtain we receive our motivational speech and the wind takes him on to his next adventure.

JHP: The Cowardly Lion seeks courage. What does courage mean to you?

SARA KISTNER: I believe Courage is not defined by one specific thing. Courage can be as simple as facing the day when all you feel is dread, it is going out and walking with the masses whether you are a feminist, a member of LGBTQ, Black Lives Matter, or even serving the United States Military. You never know what each day may bring you, but facing each day with everything you have in your soul not knowing what may be waiting for you, that is true courage.

RAPID FIRE WITH J. ROBERT LINDSEY, THE TIN MAN IN THE WIZARD OF OZ

JHP: Prior to being cast as The Tin Man, how familiar with this particular adaptation, which debuted on stage in 1987, and more closely follows the classic film than other stagings?

J. ROBERT LINDSEY: I had the opportunity to play The Tin Man (and his farmhand counterpart, Hickory) in college.  We did this adaptation as well, so I was pretty familiar with this particular version.  As a child, I was obsessed with the movie, so having the chance to play this role in a version that so closely follows the film not only once — but twice — has been such an honor.

JHP: This mounting of The Wizard of Oz marks how many times you’ve worked under the direction of Jef? What keeps you coming back to audition when he’s at the helm?

J. ROBERT LINDSEY: Wizard is the fourth time I have worked under Jef’s direction.  I first met Jef when I played Cliff Bradshaw in his production of Cabaret followed by My Fair Lady (as Freddy Eynsford-Hill) and The Boys in the Band (as Larry). What I love about Jef as a director is that he comes into the rehearsal process with a very clear vision. As an actor, it’s great working with a director who knows exactly what he wants out of you. Jef also does a wonderful job of recreating classic films on stage. In this particular show, he pays homage to the 1939 film as well as the original novel while simultaneously adding some twists and turns along that way that audiences have never seen before.

JHP: Among the lyrics of The Tin Man’s famed If I Only Had a Heart is the line, “Just to register emotion, jealousy, devotion and really feel the part”. At what point during the rehearsal process did you ‘really feel the part’ as far as finding YOUR The Tin Man?

J. ROBERT LINDSEY: Having played this role before, I didn’t want to cop out and recreate the same exact performance. The stage version dives into some of The Tin Man’s backstory. For The Tin Man, a heart represents the life he knew before the Wicked Witch enchanted his axe and subsequently turned him into tin. During one of our rehearsals, we were running the scene where the Tin Man shares his story with Dorothy and the Scarecrow. As the words were coming out of my mouth,  I really thought about how heartbreaking (no pun intended) his story is and how that fuels this journey he goes on. For me, that’s when this incarnation of the Tin Man started to evolve.

JHP: Among the many themes of Oz, Family is key, whether it’s the family we’re born into or the family we choose. I hear actors say over and over that their casts become family. Why do you suppose that is?

J. ROBERT LINDSEY: So many of the stories we tell in theatre are centered around relationships. As the cast dives into creating their own characters and developing the relationships they have with the other characters in the show, it’s hard to completely separate yourself as an actor. It’s an emotional journey and requires a lot of energy, and the only people who can relate are the ones in the show alongside you. It truly fosters a sense of family – which is one of my favorite aspects of theatre.

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The Wizard of Oz at The Larry Keeton Theatre continues with shows thru Saturday, June 29. Thursday-Saturday shows begin at 7p.m. with Sunday matinee curtain at 2p.m. Dinner and Show tickets are available for $30 for Adults and $20 for Children 12 and Under. Show Only Tickets are available for $25 for Adults or $15 for Children 12 and Under. Unlike Dorothy, you don’t need a flying house, a bubble-hopping good witch, a hot air balloon or even ruby slippers to visit, but you do need to CLICK (just one time)….CLICK HERE for tickets.

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

If you’ve enjoyed this installment of my recurring interview feature,be sure and check out previous conversations at Rapid Fire 20 Q. 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.