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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Members of the company of “Once on This Island”

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

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

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

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

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

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

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

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

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

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

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

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Bradley Moore

JHP: How did you become involved in this project?

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

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

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

JHP: Who have you got amongst your cast?

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

JHP: What can you tell me about the plot?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Wanna check out previous Rapid Fire conversations? CLICK HERE. Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

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.

Rapid Fire Q&A with star Joel Diggs and director Jon Royal; wrapping their ‘Topdog/Underdog’ run alongside star Eddie George at Nashville Rep thru Sunday, February 24

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For their February offering, Nashville Repertory Theatre has chosen playwright Suzan-Lori Parks’ thought-provoking 2002 Broadway play, Topdog/Underdog. The debut production garnered the playwright the Pulitzer Prize for Drama, the first such honor awarded a woman of color. The two-person story centers around brothers named Lincoln and Booth (obviously those names are no coincidence and not surprisingly, key to a certain plot point) as they face the day to day struggles of making their way, and their mark on the world; a world filled with preconceived notions and expectations for men of color. Eddie George, yes, THAT Eddie George, he of the 1995 Heisman Trophy, stars as Linc, the oldest of the two brothers, while gifted Nashville-based actor, Joel Diggs stars as Booth. At the helm of Nashville Rep’s production is director, Jon Royal. Royal previously directed The Rep’s Smart People last February. Among Royal’s other notable directorial efforts, Street Theatre’s brilliant 2014 production of Passing Strange and Nashville Shakespeare Festival’s Othello, which also starred Eddie George.

Always excited to chat about shows that are a bit unfamiliar to me, I recently had the opportunity to reach out to the stars and the director for the latest in my recurring interview feature, Rapid Fire 20 Q. Unfortunately, due to circumstances beyond my control, George was unable to participate. Thankfully, Diggs and the director were available, so I give you an abbreviated, yet informative and revealing Rapid Fire 13 Q.

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Diggs (left) and George (right) star as Booth and Linc in Nashville Rep’s “Topdog/Underdog” (production photos by Michael Scott Evans/courtesy Nashville Rep)

RAPID FIRE 13 Q WITH TOPDOG/UNDERDOG STAR JOEL DIGGS AND DIRECTOR JON ROYAL

RAPID FIRE WITH TOPDOG/UNDERDOG STAR, JOEL DIGGS

Joel Diggs

JHP: How familiar were you with the work prior to being cast as Booth in Nashville Rep’s Topdog/Underdog?

JOEL DIGGS: I was somewhat familiar, in that I knew of Suzan-Lori Parks, and that she wrote this great piece, but I had never read it. I did see the production with Eddie and Jeff Carr many years ago though.

JHP: What can you tell me about Booth?

JOEL DIGGS: Booth is deeply troubled, caused by his parents abandonment of he and his brother. He is a very impulsive person, who wants love so bad, he creates fantasies to fill that void.

JHP: While the playwright delves into more serious aspects of the brother’s relationship with each other, there’s still that unbreakable bond of brotherhood. In what ways does the dynamic between you and your co-star, Eddie George mirror that of the relationship between your characters?

JOEL DIGGS: He’s someone who is very well known, and I can see how that relates to Booth admiring Lincoln, because “Linc’s the Man!” Eddie and I are relatively the same age and have many things in common, as well.

JHP: Among the subplots, there’s the inheritances the brothers were left. While Lincoln opened his and spent it, Booth kept his, never opening it, which seems somewhat uncharacteristic for Booth. What’s the significance of this?

JOEL DIGGS: I believe Booth is trying to hold on to the memory of hope in his mother.

JHP: Other subplots deal with the brothers and their relationships with women, Linc’s wife, Cookie and Booth’s girlfriend, Grace, who are spoken of, but never seen. Why do you think the playwright chose to mention the women, but not include them as part of the cast. 

JOEL DIGGS: The women can be felt very strongly, but I feel the playwright may be showing the plight of the Black man in America, the so called head, being disposable, therefore dooming the entire family.

JHP: What is it about Booth that drove you to the role?

JOEL DIGGS: I know people like him, and the challenge of bringing him to life. 

JHP: The entirety of the play is presented as a two-man show. What’s the biggest challenge and biggest reward in sharing the stage with only one other actor?

JOEL DIGGS: The reward is getting to tell such a beautifully written story, and having to deal with so many layers, an actor’s dream. The challenge is the amount of work it takes to do that!

RAPID FIRE WITH TOPDOG/UNDERDOG DIRECTOR, JON ROYAL

Jon Royal

JHP: How did directing Topdog/Underdog for Nashville Rep come about?

JON ROYAL: Rene Copeland asked me how I felt about this script last February. I told her that I loved it! She asked if I’d be up for directing it about a month later.

JHP: From the beginning, did you have a clear vision of what you wanted for the Pulitzer-winning piece?

JON ROYAL: After reading and rereading the piece, I felt like I had a clear understanding for what the script was telling me it was about, but developing that is the biggest part of my job as the director.

JHP: What was it about Eddie George and Joel Diggs’ auditions that spoke to you as a director?

JON ROYAL: I’m pretty sure that Eddie and Rene had already talked about him playing Lincoln, so that meant that the search was on for an actor to play Booth. Joel is very natural onstage. They have great chemistry together.

JHP: How would you categorize you style of directing as it relates to Topdog/Underdog?

JON ROYAL: My style of directing for this piece has been about the beautiful delicious beats that Suzan has written.

JHP: Why is this play, and this production in particular, an important piece for the Nashville theatre community?

JON ROYAL: It’s important because this play is incredible. It’s such a densely, well written piece that connects with people across all walks of life. It’s been produced here twice and a playwright of Suzan-Lori Parks’ caliber should be presented to our local audiences even more. To Rene and the Rep’s credit, this is the third season in a row that this company has produced a play written by a black woman, as part of their season. I’ve been here all of my life, I’d say this kind of consistency is long overdue. 

JHP: What do you hope audiences come away from Topdog/Underdog feeling or contemplating?

JON ROYAL: I hope that audiences contemplate what it means to be in community with each other, as in we are all family. I hope we also look at what we’ve inherited from our birth families and what we’ve inherited from America.

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Nashville Rep’s Topdog/Underdog concludes its run at TPAC’s Andrew Johnson Theatre with performances Saturday, February 23 at 2:30 p.m. and 7:30 p.m. and a final matinee on Sunday, February 24 at 2:30. CLICK HERE for tickets or more information.

Following Topdog/Underdog, Nashville Rep continues their current season with Lee Hall’s stage adaptation of the popular film, Shakespeare in Love with performances March 23-April 13. CLICK HERE for tickets. To keep up with the latest from Nashville Rep, CLICK HERE, or follow them on Facebook, Instagram and Twitter.

If you’ve enjoyed this Rapid Fire, CLICK HERE to check out previous conversations with the who’s who of Nashville’s theatre scene.

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 20 Q with ’Singin’ in the Rain’ director Jef Ellis and cast; at Art Center of Cannon County February 8-23

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Directed by Jeffrey Ellis, Singin’ in the Rain, opens Friday, February 8 at The Arts Center of Cannon County. With Jef at the helm, and a cast including Jeffrey Austin Smith, Lindsey Mapes Duggin, Daxton Patrick and Brittany Blaire Andersen, not to mention the musical is based on one of my favorite mid-century Hollywood movie musicals, you better believe I reached out to Jef and his lead actors for a chance to chat with them in my latest Rapid Fire 20 Q. As usual, Jef did not disappoint, expanding on each question with a plethora of knowledge and expertise. To coin a phrase used frequently by Jef, he’s one of my favorites…at least this week. So sit back, relax and enjoy a peek under the umbrella of Singin’ in the Rain.

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“Singin’ in the Rain” director, Jef Ellis

RAPID FIRE WITH SINGIN’ IN THE RAIN DIRECTOR, JEF ELLIS

JHP: Let me start by saying, because of our mutual admiration of classic movies and theatre, I always love chatting with you about your latest directorial efforts. How did directing Singin’ in the Rain for ACC come about?

JEF ELLIS: To put it succinctly, they made me an offer I couldn’t refuse! I got a phone call asking if I would be interested in directing Singin’ in the Rain and was told that the role of Kathy Selden would be played by Lindsey Mapes Duggin, whom I had cast in her first show when she was eight years old: the balloon girl in Gypsy for my production for Circle Players’ 2000-2001 season.

The chance to work with Lindsey again after almost 20 years made my decision an easy one – plus, she is also my producer for this show, so we’ve really come full circle.

But it’s the score for this show – featuring many of the very best songs by Nacio Herb Brown and Arthur Freed – that really clinched the deal. How could I possibly pass up the opportunity to direct a show featuring some of my all-time favorite songs?
JHP: Speaking of the iconic film, there are certain sequences….the couch-ography during Good Morning and the literal Singin’ in the Rain that audiences expect. How do you manage to honor those beloved moments while also giving the audience something only a Jef Ellis production can offer?

JEF ELLIS: I’m so fortunate to have Maggie Richardson as my choreographer for Singin’ in the Rain…she loves movie musicals as much as I do, so audiences will be delighted by the sense of the familiar that she brings to these iconic musical moments in the show. But, as you would expect, I’ve added some touches of my own to set this production apart from others you might have seen. There are moments when you’ll see affectionate nods to some of the greatest comedy stars of old Hollywood: Buster Keaton, Harold Lloyd, Groucho Marx and Jack Benny inspired me, as have The Little Rascals from the Our Gang comedies and even The Keystone Kops – you’ll see how they figure into the production.

I tend to tell a lot of stories while working on a show, serving as my own dramaturg, if you will. I was surprised how easily these stories came out in unexpected ways during rehearsal: Obviously, I’ve read a lot about the silent film era and the transition to talkies, and I’ve always been fascinated by how “normal, everyday” people became superstars in a time that movies provided an escape from the realities of life.

As you know, I grew up watching classic black and white films and if I had a dollar for every time I’ve sing Broadway Melody to my dog while we’re out walking, I’d be a rich man indeed. Those classic movies fed my imagination growing up and now I get to capitalize on all those vivid images that still are in my heart and my mind.

Our inspiration doesn’t come from just “movie stars,” like Theda Bara, Pola Negri, Gloria Swanson, Norma Talmadge, John Barrymore, Dorothy and Lillian Gish, Douglas Fairbanks and Mary Pickford, John Gilbert and others of their ilk, however; I’ve evoked the names of directors D.W. Griffith, Cecil B. DeMille and King Vidor, producers like Mack Sennett and David O. Selznick, choreographers Hermes Pan and Busby Berkeley, and movie musical icons like Eleanor Powell, Ginger Rogers, Fred Astaire, Dick Powell and more.

All the minutiae and trivia that clutters up my brain is now paying off. In fact, I gave the note to an actor the other night at rehearsal: “Give me more Dick Powell.” He seemed to know who I was talking about and adjusted to give me just that.
JHP: Considering the above-referenced rain, I’d imagine this show could pose a potential technical nightmare. What’s it been like working through that aspect?

JEF ELLIS: No doubt about it, Singin’ in the Rain is a technical juggernaut of a show. Not only must we make it rain onstage – and it does! – but we also have fog, twinkling lights, the Hollywoodland sign in the distance, four (or is it five?) movies we made putting all our own stars to work in film, and so many other moving pieces of an incredibly elaborate puzzle.

Daxton Patrick, our very own Cosmo Brown, is our sound and lighting designer and film supervisor, so having him on-board has been particularly fortuitous: he listens intently, seemingly hearing every idea I throw out and he makes it happen! Our scenic designer Shane Lowery has created an art deco film temple, following up on my idea to create something timeless and very much of the late 1920s, design-wise. Jennifer Rice has given us a stunning black-and-white marble-looking stage floor and an expansive section of sidewalks outside Graumann’s Chinese Theatre, featuring the handprints, footprints and autographs of some of the first stars to be immortalized in the Hollywood firmament.

Another big part of Singin’ in the Rain is costuming. Our actors should be dressed like film stars of the late 1920s and designer Freda Mapes has given them the fashions of the period to help them find their characters more easily.

JHP: Unlike many theatrical musicals, Singin’ in the Rain was first presented as a movie musical in 1952, then adapted for the stage some 33 years later. Did its origin in film affect the way you approached it as a director?

JEF ELLIS: Of course! To be honest, Singin’ in the Rain has never been one of my favorite movies despite the fact I love all the music, which is a cavalcade of classic movie musical songs. As I began to research the show and to familiarize myself with the script (which is essentially the screenplay of the film and, therefore, not a straight book musical), I became enraptured by it and decided the smart thing to do would be to pay homage to all those legendary film personalities I’ve always admired.

Using them as inspiration, I was able to invite my cast to learn more about them, to steep themselves in tales of the golden age of Hollywood so that our production has a firm foundation. It’s been fascinating to introduce some of these movie legends to my cast and to see how eagerly they’ve embraced my ideas for the show.

As a result, I feel like the show – which is really a confectionary delight in many ways – has a more colorful and authentic basis that will resonate with our audiences.

Lindsey Duggin as Kathy in “Singin’ in the Rain”

RAPID FIRE WITH SINGIN’ IN THE RAIN’s KATHY SELDEN, LINDSEY MAPES DUGGIN

JHP: I understand Singin in the Rain marks a bit of a reunion for you and Jef as your director, having been part of the ensemble when Jef directed Gypsy 20 years ago. You were only nine then, but do you remember your impression of Jef at the time, and does that first impression still hold true?

LINDSEY MAPES DUGGIN: Jef is one of those directors that you never forget working with. As a 9 year old just entering this magical new world of theatre, he made an incredible impact on me and what would ultimately become a career choice. What I remember most about working with Jef that first time 20 years ago, was his passion for theatre. He always encouraged the cast to do more than simply recite lines on the stage, but to actually engage the audience, bring them into our “world”, and tell our story. His passion was contagious! He was definitely one of the people that lit that first spark in me and encouraged me along my path. To say that he is the same now is an understatement. I feel like time has only magnified his enthusiasm! Working with him again is so special. It has been one of those “full circle” accomplishments that you don’t get very often in life, and I am thankful to have this experience.

JHP: You’re playing Kathy Selden, played in the film by the fabulous Debbie Reynolds. My love for her is evidenced by a prized possession, my vintage vinyl two-record set signed personally to me from Debbie with the inscription, “Jonathan, All I do the whole day through is dream of you”. So….knowing there are superfans, yours truly among them, How are you making Kathy your own?

LINDSEY MAPES DUGGIN: Kathy Selden is something of a dream role of mine, and I’m so excited to take it on! No one could ever replace or even compare to the iconic Debbie Reynolds in this role. That being said, I have definitely taken inspiration from, and plan on playing homage to her as I take the stage. Making a part your own is one of the biggest challenges an actor can face. Especially with a role that is so iconic! I have tried to bring Kathy to life by adding some of my own personality and really trying to relate to her. Kathy has a dream of becoming a great actress, she is creative and optimistic, and she has the drive and determination to make those dreams a reality. If I can live up to those characteristics, then I can bring some truth to the character and make her relatable to the audience as well.

JHP: Because the show takes place in earlier Hollywood years between silent films and talkies, the wardrobe has gotta be pretty awesome. What can you tell me about the costumes?

LINDSEY MAPES DUGGIN: The costumes have been spearheaded by my mother, Freda Mapes. She has helped costume almost every show I have been a part of since the beginning, and seems to have a natural talent for it. She was so excited to do this show knowing Jef would be directing! This show takes place in the late 1920’s with all the flapper glam and sparkle! It has been so fun to play with accessories like hats, gloves, furs, and feathers. Some of the cast has even gotten involved by adding pieces that have belonged to family members. One of our cast members is using his grandfather’s fedora and another is using some of her grandmother’s jewelry. It makes it so special when you can add personal touches like that.  I asked my mother what her favorite musical numbers have been to costume, and she replied Broadway Melody and Beautiful Girls.

JHP: In addition to Jeffrey Austin Smith as Don Lockwood, you also share the stage with Daxton Patrick as Cosmo Brown. Using only one word each, describe your two male counterparts.

LINDSEY MAPES DUGGIN: I think this may be the hardest question in the whole interview! Ha! This is my first experience working with Austin, and If I had to describe him in one word it would be brilliant! He carries the role of Don Lockwood so well, and It is also really great to work so closely with an actor that you trust. For Daxton, I think my word would have to be remarkable! He has worked as part of the Arts Center staff with me for several months, and already took the stage by storm in the role of Jerry Lee Lewis in our production of Million Dollar Quartet. This was a completely different role for him to take on! He jumped in head first, and never looked back. Let’s just say that I am an incredibly lucky lady to have two wonderful guys by my side in this show!

Brittany Blaire Andersen as Lina in “Singin’ in the Rain”

RAPID FIRE WITH SINGIN’ IN THE RAIN’s LINA LAMONT, BRITTANY BLAIRE ANDERSEN

JHP: I love Lina Lamont, Singin’ in the Rain’s silent film star who probably should remain silent due to her Betty Boop-like voice. How much fun are you having playing her?

BRITTANY BLAIRE ANDERSEN: I am LOVING being a villain! I’ve never played such an unlikeable character before. It was a challenge at first, but I’m finding so much more depth to her in every run through. Her voice is soooo annoying! I didn’t have a hard time finding her voice, that was the easy part – incorporating her annoyingly nasal voice into a song was the biggest challenge for me! Every time I hear myself I apologize to everyone! Haha. But overall, I’m having a blast stretching myself into this larger-than-life character, while still trying to keep her grounded and authentic.

JHP: Like Jeffrey and Lindsey, you’ve also performed under Jef’s direction, having starred as Sally Bowles in Chicago a couple years back. Since Jef is notorious for proclaiming his ‘favorites’, what’s your favorite thing about him as a director?

BRITTANY BLAIRE ANDERSEN: I love Jef! I’m honored that he has enough faith in me to cast me in such challenging roles! I think my favorite thing about him as a director is how passionate he is about theatre as an art form, as well as the historical knowledge he has about the shows he directs. Knowing the historical context of any production, within its story as well as within the time the production was conceived, is hugely important as an actor.

JHP: One of my favorite aspects of the stage version of Singin’ in the Rain is the presentation of silent movies that’s usually included. I guess I love it and this musical in general, because it combines my two favorite things…movies and live theatre. I saw on social media that you guys shot your silent scenes recently. What can you tell me about that shoot day?

BRITTANY BLAIRE ANDERSEN: Isn’t that such a cool aspect of this show? That was such a fun day! We went to Centennial Park and shot a few scenes. Some lady asked us to take a pic with her, haha. We were quite the spectacle. We then finished up in Woodbury. I don’t think I’ve laughed that hard at a film shoot, ever! It was so much fun! Definitely a highlight of this production. And Dax did SUCH an awesome job filming and editing! I can’t wait for everyone to see it!

JHP: Alright…my last question with you, so it’s multi-part one…The soundtrack to Singin’ in the Rain is simply magnificent. Prior to joining the cast, did you realize most of the tunes had appeared on other films years before appearing in the 1952 classic? Did you go back and check out clips of any of them? And lastly….what’s your favorite musical moment in the show?

BRITTANY BLAIRE ANDERSEN: I have always loved this musical and its music. This may have been one of the first musicals I’ve seen in my life. (Thanks mom and dad!) I had not realized the songs were in other films! I’m definitely going to go check that out NOW! My favorite song from this show has always been Good Morning! It’s just such a well-written song and such a great moment in the show. Of course, Singin’ in the Rain is a classic and Austin does such a fantastic job with it!

RAPID FIRE WITH SINGIN’ IN THE RAIN’s COSMO BROWN, DAXTON PATRICK

JHP: You’re playing Cosmo Brown, Don Lockwood’s best pal. What traits of the character do you hope others see in you?

DAXTON PATRICK: Cosmo Brown is a very goofy and fun loving character but he has a serious side when it comes to his work. I hope that the audience can see him draw that fine line because in this story Cosmo drives all the creative decisions that are made to make the travesty that is the Dueling Cavalier into the masterpiece that the Dancing Cavalier is. If you pay attention, this story shows the rise and struggle of certain people in the movie industry when talkies took storm in the late 20’s and I would like to think Cosmo was one of those to rise to the occasion.

JHP: I understand you came into the role after a necessary cast change. What about your co-stars made that an easy transition?

DAXTON PATRICK: How I came into this role was completely unexpected. I started as only the sound designer for the show when I was asked to be in ensemble and before I knew it I was one of the 3 main characters. It was scary but I was up for the challenge. My costars have helped ease me into this with their kindness and encouragement and even the production members have helped me achieve this role with their belief in me and positive words. I am thankful for those talented people who I have the honor of sharing the stage with.

JHP: In addition to playing Cosmo, you’re also the show’s technical director. As I mentioned when I spoke with Jef, it’s definitely a tech-challenging show. What technical aspect are you most pleased with?

DAXTON PATRICK: I had a hand in lighting, sound, and video programming of this show and the script calls for tons of technical aspects but considering it is a show about movies it seems fitting. As a recent graduate of the MTSU film program, I couldn’t have graduated without my knowledge of technology. Film is very much so reliant on technology so it makes sense that a musical about such a thing is so technically challenging. I am most pleased with how the old films that will be projected came out. It’s the little details such as the sound quality and the frame rate of the films that help throw the audience back into the early 20th century cinemas.

JHP: A key element in pulling off technical marvels in a stage show must involve plenty of consults with the set designer, in this case, Shane Lowery. What can you tell me about Shane’s design?

DAXTON PATRICK: I mostly ran into dealing with the set when it came to two things. The rain mechanism and the lighting design. The rain mechanism was built and designed by Shane himself. I just helped install it, but I did have to set some boundaries before the machine could even be built. I had to study the grid above the stage to decide where the best place would be to place this type of thing. Where we could hang something that sprayed water that was far enough away from all the tech we had mounted in order to not break any of it. Shane’s rain mechanism works wonderfully with his beautiful set. His set design made it easy to design the lighting for the show. The simplistic but elegant design left me plenty of options to do what I would like with the lights. Considering there was no color to the set, it left the color up to me with the lighting design. I didn’t have to worry about colors from the LEDs clashing with certain colors on stage and it really leaves me open to the entire color spectrum. Everyone will be dazzled by Shane’s amazing design!

Dax Patrick and Austin Jeffrey Smith as Cosmo  and Don in “Singin’ in the Rain” (all photos by John Goodwin Photography)

FIRE WITH SINGIN’ IN THE RAIN’s DON LOCKWOOD, AUSTIN JEFFREY SMITH

JHP: Since I only have four questions with each of you and you’re my final interview this go-round, let’s start with a three-parter. How many shows have you appeared in under Jeff’s direction?….what keeps you coming back to work with him?…and…are you indeed his favorite?

AUSTIN JEFFREY SMITH: Singin’ in the Rain will be my seventh show under the direction of Jeffrey Ellis. Many people, both professional and community theatre alike, when asked about why theyPersonally, theatre has changed my life by story telling. Every musical is a story in which the author(s), composer(s), and choreographer(s) have combined their full creative expression to create such a wonderful, transformative world in which an imaginative, sometimes true, story comes to life.

Jeffrey Ellis as a director does this wonderfully. In every show I have been able to work with him, he has always strived to get the story to come alive more than just people on stage, in costumes, speaking lines with expression and randomly dancing.

Jef’s ability to transport an the entire audience night after night into any world comes from his direction of the actors and the use of the set. His collaboration with the set designer has never ceased to amaze both actors and audiences in the ability to time-travel and place you in the story, before a word or note had even been struck. Jef also treats everyone with the attitude and mentality of professionalism. Whether an actor is striving to become a professional, is a professional or just enjoys doing community theatre as a hobby; you will get treated no less than a professional actor.

Jef has said many, many times in various rehearsals for shows, that Theatre is a wonderful thing. Where else can you go to escape the world for two or threes hours, not even batting an eye at how long you have been sitting, and leave with a completely different demeanor or idea of the world than when you entered? This is the true magic of theatre, something Jef achieves through not only strong direction but also by entrusting in his cast and crew to come together and present a collaborative effort of a show and our art. This is why I love any chance to work with Jef; his professionalism, passion for his art and theatre, and his transformation of script to stage.

Now, in regards to being “Jef’s favorite”, I must say that anyone who knows Jef, knows he loves people. True favoritism is not shown in his personality. So whether I am his favorite, the world may never know! However, I will say this; I am honored to work with him as one of my mentors and proud to call him a fierce friend.

JHP: This show is physically demanding.  How much time will you have put into choreography rehearsal and prep by opening night?

AUSTIN JEFFREY SMITH: We have been in rehearsals for a little over two months but including outside dance practice, line memorization,  and musical practice it’s a lot! The real people are our set builders, costume designers, and musicians. They are really the ones who put in way later hours, sometimes all night just to get the show ready. When a cast leaves rehearsal one night and comes back the next night to an almost complete set, believe you me it is nothing short of impressive and gratefully appreciated. The combined amount of time we all have put into this show is unfathomable  but in the end our grand result is worth every second!

JHP: Be honest, prior to being cast, had you ever tried a little Singin (or dancin) in the Rain?

AUSTIN JEFFREY SMITH: I’m sure in my youth I played and danced in the rain at some point in my life. I can recall a time in college where during a performance outside, it began to rain. As I’ve come to learn, both in life and stage, the show must go on! Rain has never bothered me, other than being cold when you walk into the grocery store and suddenly your shivering. If this lovely show, as well as portraying Don Lockwood has taught me anything, it’s that singing in the rain is much like stopping to smell the roses, it is something in life that’s worth doing again and again.

JHP: As mentioned above, Don Lockwood, the role you’re playing in Singin in the Rain was made legendary by Gene Kelly in the original film. What’s it like putting your own spin on such an iconic character?

AUSTIN JEFFREY SMITH: It is always an amazing ride to become any character, but this one has been incredible. Don goes through a lot of emotions throughout the show, as we all do in one day sometimes. Throwing myself into Don Lockwood is no less of an emotional rollercoaster every night but why do we ride such a thrilling ride? For the fun of it!  As you put it, Gene Kelly’s performance as Don Lockwood is legendary, and no less some big shoes to fill. For me, Don has a special place in my heart because of his charm and charisma. Old Hollywood films always have these big over-lavished environments and emotions that are true to the feeling. Making this believable in 2019 is nothing short of difficult as movies, tv series and books today have made old romances like Singin’ in the Rain laughable or silly to most. Yet, the emotion is just as strong and whether people admit it or not it’s how we all feel. Jef opened my eyes to something about musical theatre in our first production together but it especially rings true with old movie musicals. When a person or an ensemble, be it stage or movie musicals, suddenly burst into song, many find that strange and non-life like. Really though, it is just the absolute explosion of emotion. Singing and dancing comes when emotion can not be expressed any other way but to expose oneself entirely. Many fans of Singin’ in the Rain will recall the song You Were Meant For Me. This is a song in which Don does just as I’ve described. I won’t go into any more details of course, you’ll just have to come see our show to find out!

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Beginning Friday night, February 8, audiences will have a chance to revel in the joys of Old Hollywood as only director Jeffrey Ellis could envision when Singin’ in the Rain debuts at The Arts Center of Cannon County (1424 John Bragg Highway, Woodbury, TN) with performances Fridays and Saturdays at 7:30 p.m. and Sundays at 2 p.m. through Saturday, February 23. Tickets are $15 for Adults, $13 for Students and Seniors (65+) and $12 for groups of 10 or more. CLICK HERE for tickets or more information or check out The Arts Center of Cannon County online or on Facebook.

Rapid Fire 20 Q with cast and crew of Studio Tenn’s ‘Always…Patsy Cline’; at The Factory at Franklin’s Jamison Theatre February 8-24

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Megan Murphy Chambers and Melodie Adams star in Studio Tenn’s “Always…Patsy Cline” (all photos by MA2LA courtesy Studio Tenn)

For their current production, Studio Tenn is tackling one of Music City’s favorite jukebox musicals about one of Nashville’s favorite legends as they present Always…Patsy Cline onstage at Jamison Theatre at the Factory in Franklin from Friday, February 8 thru Sunday, February 24. Created and originally directed by Ted Swindley, Always…Patsy Cline weaves together a unique story of friendship between Patsy Cline, the iconic country singer and a fan, Louise Seger, who continued their bond by way of a series of letters written between the two after meeting in Texas honky tonk after one of Cline’s shows. As Studio Tenn prepped for opening night, I recently had the chance to chat with the show’s director, Benji Kern, costumer, Blake Danford and stars Megan Murphy Chambers and Melodie Madden Adams for the latest edition of my recurring interview feature, Rapid Fire 20 Q.

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RAPID FIRE WITH STUDIO TENN’S ALWAYS…PATSY CLINE STAR, MEGAN MURPHY CHAMBERS

JHP: Was playing Patsy a role that was on your radar prior to Studio Tenn announcing their production?

MEGAN MURPHY CHAMBERS: Honestly, no. Since the show’s never been done in Nashville outside of the productions at the Ryman, I didn’t anticipate getting to take a crack at it.  And I’m absolutely delighted to have been wrong about that! Patsy is proving to be a stretch and a challenge in all the best ways.

JHP: Alright, I gotta ask. You may or may not know, but Mandy Barnett is a good friend of mine. Of course she is known for her portrayal of Patsy in playwright Ted Swindley’s legendary mountings of the show here in Nashville at the historic Ryman Auditorium. That said, what’s it feel like not only taking on this role, but doing it here, where you’ll no-doubt not only play to fans of Patsy, but also fans of Mandy and her portrayal?

MEGAN MURPHY CHAMBERS: I’m doing my best not to approach it from a place of comparison – it would be foolish indeed to use either of those ladies as a yardstick against myself, so I’m doing my best to go after it the same way I do any other role. Both Patsy and Mandy are Nashville icons, so I’m paying homage, looking at it with fresh eyes, and trusting Benji and Jason Tucker, the show’s musical director, to help me wring every bit of joy and musicality from the material that I can!

JHP: Speaking of friends, opposite your Patsy, you’ve got Melodie Madden Adams as Louise. I first became familiar with you both at Boiler Room Theatre several years ago. Is that when you two met?

MEGAN MURPHY CHAMBERS: It was! We met after getting cast in Guys and Dolls in (I think?) 2003 and clicked instantly.  Melodie is so hilarious, generous and talented, and we are laughing our asses off every day during rehearsal. I feel unbelievably secure on stage with her, and it’s such a boon to the show to get to skip the “getting to know you” portion of the process. Our friendship let us get right to the good stuff!

JHP: As far as Patsy’s stage clothes, you could say she had two distinctive looks, cowgirl and country queen. From what I’ve seen in promo pics, costumer Blake Danford has recreated some of Patsy’s iconic looks. What’s your favorite?

MEGAN MURPHY CHAMBERS: Way to give me a Sophie’s Choice question, Jonathan All of my costumes are being designed and built for me by Blake Danford and Allison Hearn (wardrobe supervisor), which [swoooooooon] and they’re all going to be spectacular. That said, that red cowgirl getup is beyond dreamy, and I have a feeling my little black number will be one that I want to sneak into my purse on closing night.

JHP: Had Patsy not met her untimely death at what was still the height of her career and popularity, do you think her star would have continued to burn bright, or would her fame have faded?

MEGAN MURPHY CHAMBERS: THE BRIGHTEST. Patsy’s talent was too massive for her to have faded into the background. I imagine her being a Dolly, Loretta, or Cher type; she was already a bit of a shape-shifter, and knew how to ride the wave of popular interest. I can see her enduring and evolving stylistically, and mentoring and collaborating with future generations of performers. She sang with such depth and feeling in her twenties – it haunts me to think what kind of intensity she could have served us with another 30 years under her belt.

RAPID FIRE WITH STUDIO TENN’S ALWAYS…PATSY CLINE STAR, MELODIE MADDEN ADAMS

JHP: I mentioned when I spoke to Megan that you two have a long history of sharing the stage, both in theatrical and music endeavors. How has your off-stage friendship enhanced your portrayal of the friendship between Louise and Patsy?

MELODIE MADDEN ADAMS: Honestly it really felt like such a head start on the process. Megan and I joke that we can almost speak to each other onstage telepathically and so it’s helpful with a show that is so centered around such an established relationship.

JHP: Of course the two of you also frequently share the stage as part of MAS Nashville. So you know I gotta ask…when are we getting more from MAS?

MELODIE MADDEN ADAMS: I hope really soon, but for now it’s really fun to support each other with all of our other projects we have going on!

JHP: Were you a fan of Patsy Cline’s music prior to being cast in Studio Tenn’s Always…Patsy Cline?

MELODIE MADDEN ADAMS: I was familiar with her songs for sure, but I wouldn’t call myself a fan. Even in the short time we have been rehearsing I see why her music touched so many people.

JHP: The play was inspired by Louise and Patsy’s friendship and correspondences. When’s the last time you wrote someone an actual letter?

MELODIE MADDEN ADAMS: Does a thank you note count? If not, it’s been awhile, but I’m lucky to have friends who still enjoy writing actual letters. One being Megan!

JHP: While the show is predominately about the music, by the nature of Patsy’s real-life story, there’s plenty of emotional moments. I’ve seen Always…Patsy Cline more times than I can remember, and it never fails. During key scenes, my eyes always ‘sweat’. How do you play those emotional moments night after night?

MELODIE MADDEN ADAMS: I approach those key scenes by channeling my own life experiences that relate to what’s going on onstage. For me, I really connect with the moments when you see Patsy as a mother and when she talks about her baby boy. It always makes me think of my little boy back home.

RAPID FIRE WITH STUDIO TENN’S ALWAYS…PATSY CLINE COSTUMER, BLAKE DANFORD

JHP: Having created the costumes for Studio Tenn’s Beauty and the Beast, as well as assisting on consuming for last year’s breathtaking debut of Frankenstein, you’re back for Always…Patsy Cline. How many costumes have you created for this jukebox musical?

BLAKE DANFORD: Patsy has about seven costumes, Louise stays mostly in the same look, and the band members each have one look! So about fifteen total.

JHP: What went into researching wardrobe options for Always… Patsy Cline?

BLAKE DANFORD: The great thing about creating costumes based on something someone wore so “recently”, historically speaking, is that there are a plethora of photos of the original looks, and many of them are still in existence! That definitely makes research easier, as all of that information is quite readily available. In addition to just specifically researching Patsy’s clothes, a lot of care was done to understand the era as well to influence Louise and the band.

JHP: I’ve seen promo pics of Megan in the iconic red and white cowgirl outfit. While it’s instantly recognizable, there are some subtle differences from Patsy’s actual outfit. As a designer, how do you decide when to not simply duplicate an iconic look, but rather honor the original while adding your own touches?

BLAKE DANFORD: Thank you for noticing the differences! Something I hold dear to my heart in every project I do is honoring expectation. So, I kept all the key points, (red, cream, fringe) and took the opportunity to “crisp” it up a little bit. The original was just a shirt tucked into a skirt, whereas ours is built as a jacket. The material in the original is a light cotton, where ours is a denim. It’s details like these that I feel lends a sense of gravity to the character, and convey the “character” of Patsy.

JHP: I saw on Studio Tenn’s social media that some of those involved in the show recently visited the Patsy Cline museum. From what I understand, this was after you had already designed much of the wardrobe for the show. Are you glad you waited until after you created your own versions of the iconic wardrobe?

BLAKE DANFORD: As I said previously, in the era we are in, photos of these pieces are quite readily available online, so I was able to get most of the information I needed ahead of time. It was, however, such a thrill to see those pieces in person and see the things that I got correct in my research!

JHP: In keeping with the letter writing theme that was the springboard for the creation of Always…Patsy Cline, if you could write Patsy a letter, what would you ask?

BLAKE DANFORD: Oh goodness, that’s a tough question! I don’t know that I would necessarily have one specific question, but I would love to be able to exchange letters with Patsy, herself. It would be an absolute treat to get to chat with her and hear the stories that she accumulated in her life.

RAPID FIRE WITH STUDIO TENN’S ALWAYS…PATSY CLINE DIRECTOR, BENJI KERN

JHP: Always…Patsy Cline is kind of unique in that it’s a two-person musical (plus a small band). For Studio Tenn’s production you’ve cast two of Nashville’s favorites, Megan Murphy Chambers and Melodie Madden Adams. You’ve worked with both actresses in the past. Tell me what it is about each of them that embodies the characters of Patsy and Louise?

BENJI KERN: The friendship between Patsy and Louise was really important to me coming into the production. Not only are Megan and Mel both insanely talented, but they have an offstage friendship that has created a wonderful chemistry between the figures they are portraying. Megan has a natural ear which is key to shows where you are embodying an icon. She also has the smarts to pay tribute and honor Patsy which is important as trying to do impersonations will always fall short. Mel is a fantastic story teller, inviting, and captivating. So it just made sense that these intrepid women would take on these roles.

JHP: In addition to the leading ladies, Always…Patsy Cline features a six-person band. Seeing as how the songs are nearly as vital to the story as the dialogue, and again, because Nashville is Music City, who’s musical director and who’ve you got in the band?

BENJI KERN: We are excited to be working with Jason Tucker as the music director for this show. It’s an honor to have him join the Studio Tenn family. In addition to being music director, Jason will be conducting and playing piano. Joining him are steel guitarist Michael McElravy, guitarist Lindsey Miller, bass player Luke Easterling, drummer Ben Andrews and fiddler Cassie Shudak.

JHP: Several people connected to Patsy Cline, including family members, still live in the area. Since Studio Tenn is just minutes from Music City, any chance you’ve reached out to any of them to extend an invite during the run of the show?

BENJI KERN: Yes!  We have had the great fortune to work with The Patsy Cline Museum.  In addition, one of our Board of Directors, Larry Westbrook’s father did Patsy Cline’s taxes.  He has been in contact with the family on Studio Tenn’s behalf.

JHP: The story of Always…Patsy Cline is told through the eyes of Louise Seger, a fan who randomly struck up a friendship with the star and continued that relationship via a series of handwritten correspondences. Have you ever written a fan letter, or, I guess in today’s terms…a fan email?

BENJI KERN: I have not written a fan letter in the Louise terms, but I have reached out to people via my Instagram handle.  Let me tell you, I’ve freaked out when they have responded.

JHP: Just last year, Always…Patsy Cline celebrated its 30th anniversary, Ted Swindley having debut the work back in 1988. What is it about Patsy’s music and this play that endures?

BENJI KERN: Patsy was the entire package. She was a star, captivating audiences with her earthy and authentic energy and incredible voice. She was a trail blazer, paving the way for female artists, making her way into the boys club in the music industry and holding her own.  We all know Crazy which is the number one played Juke Box song of all time. Her music continues to speak to audiences not only because of her iconic voice but most importantly, the way she told a story with each song.

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Audiences will have a chance to see exactly what Benji meant by saying, “the way Patsy Cline told a story with each song” when Studio Tenn’s Always…Patsy Cline plays Jamison Theatre at The Factory at Franklin (230 Franklin Road, Franklin, TN) from February 8-24. Shows are 7 p.m. Thursday-Saturday with Saturday and Sunday matinees at 2 p.m. Tickets range in price from $30 to $87.50. CLICK HERE for more information or CLICK HERE to purchase tickets.

Following Always…Patsy Cline, Studio Tenn will continue their 2018-2019 season with The Sinatra Legacy: A Musical Tribute to Ol’ Blue Eyes onstage at the historic Franklin Theatre in Downtown Franklin March 13-17. CLICK HERE for tickets or more information.

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

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

Rapid Fire 20 Q with director, set designer and cast members of Circle Players’ ‘Avenue Q’; on stage at Looby Theatre January 10-20

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With Circle Players’ Avenue Q opening Thursday, January 10, I thought it would be fun to chat with the show’s director, set designer and members of the cast for my latest Rapid Fire 20 Q. Fair Warning, much like the show itself, the following interviews aren’t exactly 100% kid friendly. (How’s that for extra incentive to read on?)

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RAPID FIRE 20 Q WITH CAST & CREW OF CIRCLE PLAYERS’ AVENUE Q

RAPID FIRE WITH AVENUE Q DIRECTOR, BRIAN JONES

JONATHAN H. PINKERTON: Earlier this theatre season, Circle Players presented one of the first of many area productions of Newsies and now you’re directing Avenue Q, another show that’s proven to be popular with Middle Tennessee theatre companies. What about Circle’s Avenue Q will make it stand out amongst the rest?

BRIAN JONES: When we chose this show over a year ago, we didn’t realize that so many other theatre companies, including a local professional company, would also be producing the show. As such, we decided to think outside of the box to  give our audiences an alternative view of the show. Working with my incredible set designer, Jim Manning, we were able to develop a concept that is a fresh take on the show but still pays homage to the original designs that everyone typically uses. Additionally, we casted this show a bit larger than is traditionally done instead of double casting many of the puppet roles to give more people an opportunity to be a part of this fun show. Overall, we think we’ve put together a show that audiences will love.

JHP: Many of the main characters of Avenue Q are puppets, but the actors controlling them are in full view of the audience. Did this affect your direction for the show?

BRIAN JONES: As a director, my priority was to ensure that the audience pays attention to the puppets and the actors just fade away. That impacted how blocking and staging were developed which many times was counterintuitive to acting without the presence of puppets.

Generally, working with puppets isn’t any Nashville actor’s forte and so learning to make inanimate objects come to life was a  big focus of the rehearsal process. I was fortunate to have previous experience with the show at a theatre in Florida (playing Nicky/Trekkie) where I learned some basic techniques that I was able to share with the cast. But ultimately, the cast spent their own time in front of mirrors perfecting every movement and giving and receiving feedback from myself and with each other.

RAPID FIRE WITH AVENUE Q SET DESIGNER, JIM MANNING

JHP: I asked Brian about directing a show whose cast includes puppets. On a similar note, what challenges did you face in designing a urban neighborhood set inhabited by humans and puppets?

JIM MANNING: Brian allowed me to take a really different spin on this show.  Most sets for this show that I’ve seen (and designed) before have a fairly realistic street scenes inspired by Sesame Street.  I don’t want to give too much away, but the inspiration for this production comes from a different place–a place where puppets and human coexist.

JHP: Your sets frequently include little hidden gems. In Newsies, one such thing was a little hidden panel that slid to reveal an unexpected fun detail. Can you give me a hint of any set surprises in Avenue Q?

JIM MANNING: You know I love a good hinge.  Spoiler Alert: There’s not one hinge on this set.  But the math of it alone took a minute.  Like any Jim Manning set, there’s usually a trick or two hidden in plain sight…

RAPID FIRE WITH AVENUE Q’s KATE MONSTER, CARLY ROSE

JHP: This is your first show with Circle. What’s the experience been like so far?

CARLY ROSE: Working with Circle has been an incredible experience. Not only do I get to work with some of Nashville’s most talented, kind, and hardworking people, but Circle’s board has been extremely supportive and made us all feel very taken care of.

JHP: Tell me about Kate Monster?

CARLY ROSE: Kate wears her heart on her sleeve, honestly, she wears it on her forehead. In everything she does she leads with her heart.

JHP: Prior to being cast in Avenue Q, had you had any experience with puppets?

CARLY ROSE: I had never worked with puppets professionally. I don’t think we can count scaring my little brother with a rubber dog puppet as a child “professional.”

JHP: Ha! Yeah, probably not. How are you least like Kate Monster?

CARLY ROSE: Kate and I have a lot of similarities but she lacks my winning sense of humor and she hates porn.

RAPID FIRE WITH AVENUE Q’s PRINCETON, ALEX PINEIRO

JHP: Like your co-star, Carly, Avenue Q is also your Circle debut. What’s the best part of being in a show at Circle?

ALEX PINEIRO: Circle has been absolutely amazing to work with! Something that’s always drawn me to Circle is the quality of their shows and this is the first opportunity I’ve had to audition for the company! From early on I knew this show was gonna be something special. Everyone is so dedicated to their craft and I hope it’s something that will be seen through the product we’ve all created together!

JHP: You play Princeton. What’s Princeton’s worst quality?

ALEX PINEIRO: Princeton spends most of the show trying to find his purpose in life. He gets so tangled up in trying to find it that he lets life pass him by instead of accepting the fact that it’s okay to not know where your life is headed for a little.

JHP: A quick peek at your bio reveals that prior to Avenue Q, you recently spent 7 months as part of a musical dinner theatre production in Pennsylvania. What was that like?

ALEX PINEIRO: It was amazing! I was working on the original musical The Home Game with Blue Gate Musicals. It’s the longest contract I’ve had to date so far and it really taught me how to keep things fresh and new every night on stage. After all, we performed the show 175 times!

JHP: What’s the most challenging aspect of doing the show with a puppet on your arm?

ALEX PINEIRO: Honestly, getting his mouth to line up with my words. After working it for two hours, I feel like I completed a full arm workout! But, as Brian said in rehearsal one day, he doesn’t want it to look like an old kung foo movie where their mouths don’t line up with their words.

RAPID FIRE WITH AVENUE Q’s LUCY & MRS. THISTLETWAT, TAYLOR SIMON

JHP: You play Lucy the Slut, Mrs. Thistletwat, and a brief turn as Purpose Boxes in Avenue Q.  How much fun are you having in this show?

TAYLOR SIMON: This show has been a dream show of mine for 15 years. Getting to do more than even the traditional double-casting of the show would allow me to do just makes me feel more connected to the show and definitely makes it more fun! I don’t like having a lot of downtime backstage because it takes me out of the story and I get distracted so I’m loving having the opportunity to do so much.

JHP: When not acting, you also appear around town as part of the improv troupe, Lady Bits. Who would make a better addition to the troupe, Lucy the Slut or Mrs. Thistletwat?

TAYLOR SIMON: My gut reaction was  Mrs. Thistletwat, but Lady Bits is a super inclusive improv comedy troupe, so I think they both would be embraced with open arms. They both could bring different aspects and points of view. Mrs. Thistletwat is older, and commands respect, so I think she could very easily command the stage and if a skit was getting off track she could put it back on the rails. Lucy is very quick-witted, and is good at making sharp comeback‘s when she feels insulted. Those skills definitely come in handy in improv comedy when you have to make something up on the spot!

JHP: Who among your Avenue cast mates is likely to crack wise and go slightly off-script?

TAYLOR SIMON: I’m not trying to call anyone out because I think it only adds to the show, but my girl Abigail Nichol playing the girl Bad Idea Bear has added some adorable improvised moments that crack me up!! You can tell she’s having a blast and making it her own and it only makes it better. Love you Abigail!

JHP: If you lived on Avenue Q, which puppet would you want as your roommate?

TAYLOR SIMON: I think I’d want Kate as my roommate because even though she can be “loud as the hell she wants” sometimes, she seems like a genuinely kind, thoughtful person who just wants to help her community.

RAPID FIRE WITH AVENUE Q’s ROD, CLINT RANDOLPH

JHP: Avenue Q is your third show with Circle. What keeps you coming back?

CLINT RANDOLPH: It feels like home. Circle Players offers a supportive environment for performing artists to thrive and express their creativity. Actors are allowed to explore and grow as performers with the guidance of very visionary directors. There is also a tangible sense of camaraderie that develops amongst the cast members throughout the experience. Everyone is  working tirelessly toward accomplishing a single goal: putting on a great show. And Circle Players always delivers a great show.

JHP: In the show, you voice Rod, a closeted, uptight investment banker who lives with his best friend, Nicky. Those familiar with the show know that these two are obvious parodies of Sesame Street’s Bert and Ernie. So…just between us….are Bert and Ernie more than just pigeon pals?

CLINT RANDOLPH: I can’t really say. All I know is that I’ve never seen them on Grindr or Scruff.

JHP: In addition to being an actor, you also teach middle school theatre. Who’s more out of control…the Avenue Q cast mates, or your students?

CLINT RANDOLPH: Definitely the Avenue Q cast. This a crazy bunch of people. But it makes for one helluva puppet show! It’s so much fun to perform this show with them every night. We crack each other up all the time.

JHP: OK, so I’m down to my last question….one more teacher-related question…what lessons do you think Avenue Q has the potential to teach its audiences?

CLINT RANDOLPH: Firstly, don’t take yourself so seriously. Laugh at yourself every now and then. Secondly, appreciate life for its little moments. It’s only temporary. Enjoy it while it lasts.

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Beginning Thursday, January 10 thru Sunday, January 20, audiences have several chances to heed Clint’s words–do just as the above clever advert suggests–and enjoy Circle Players’ bawdy, yet thought-provoking production of Avenue Q at the Looby Theatre located at 2301 Rosa Parks Blvd. Thursday-Saturday shows are at 7:30 p.m. with Sunday matinees at 3 p.m. Thursday tickets are $15. Friday-Sunday tickets are $20. Click Here for tickets.

Following Avenue Q, Circle Players will continue their 69th season with If/Then from March 220April 7 and A Chorus Line from May 31-June 16. Be sure to follow Circle Players on Facebook, Instagram and Twitter for the latest news, tickets and details about the rest of their current season and news of the company’s upcoming landmark 70th season.

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, Twitter and Facebook.

 

Rapid Fire 20 Q with cast of Studio Tenn’s ‘Beauty and the Beast’; onstage at Jamison Hall in The Factory at Franklin now thru December 30.

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‘Beauty and the Beast” opens at Studio Tenn on Friday, December 7 and continues through Sunday, December 30 (graphics and production images by Tony Matual/MA2LA/courtesy Studio Tenn) Actor headshots courtesy the artists)

For their holiday offering this year, Studio Tenn is presenting Disney’s Beauty and the Beast. As the company readied for the show’s Friday, December 7 opening night at Jamison Hall at The Factory at Franklin, I recently had the opportunity to chat with members of the cast for my latest Rapid Fire 20 Q.

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RAPID FIRE WITH HATTY KING, BELLE IN BEAUTY AND THE BEAST

JHP: Tell me about Belle?

HATTY KING: Belle is a lovely balance of strong and soft. Her mother died when she was young, so she had to grow up quickly to care for her father-this is where her strength comes from- but it didn’t harden her. Instead, it gave her an appreciation for life, and a thirst or adventure. She realizes that life is precious, and she longs to live fully.

JHP: What about Belle’s personality do you most identify with?

HATTY KING: There’s a youthful exuberance about Belle. She’s smart and grounded, but would totally race you to climb a tree. The idea of maintaining a childlike playfulness is certainly something close to my heart.

JHP: Studio Tenn has quite the reputation for creating gorgeous costumes for their shows. While aspects of Belle’s looks tend to follow the now-iconic and recognizable blue peasant girl and gold ballgown wardrobe pieces, something tells me Blake Danford, who’s costuming the show, has put his own spin on things. What’s your favorite Belle look in the show?

HATTY KING: The gold dress, oh my. It’s the perfect combination of authentic 1700’s decadence and classic Belle…and I’m not kidding about the decadence. Most of the dress is hand-sewn and it’s exquisite.

JHP: Two yeas ago you were Ariel in a local production of The Little Mermaid and now you’re starring as Belle, who, unlike Ariel, marries into her princess title. Which princess still remains on your to-do list?

HATTY KING: I recently got to see Anastasia in New York, and the role of Anya captured my heart. I’d love play her!

RAPID FIRE WITH PAUL BASWELL, GASTON IN BEAUTY AND THE BEAST

JHP: You’re playing Gaston. What’s the best party of being such an over-the-top narcissistic character?

PAUL BASWELL: Overall, the self confidence he exudes has been really fun to play with. It’s really taught me a lot personally.

JHP: This is your first time in a Studio Tenn production, right? What’s the experience been like so far?

PAUL BASWELL: I’d have to say it’s greatly exceeded my expectations. The talent in Nashville is astounding, and this has to be one of the most professional companies I’ve ever had the pleasure to work with. There’s nothing better than getting to go to work and laugh everyday.

JHP: As Gaston, you get to share a few scenes with on of my favorites, Curtis Reed, who’s playing Gaston’s loyal sidekick, Le Fou. Are you guys having fun?

PAUL BASWELL: He is actually one of the first friends I made when I moved to Nashville just over a year ago! I was so excited when I found out we would get to work side by side. We belly laugh every single day! He is insanely talented and creative and is always coming up with great ways to add depth to our scenes together. I couldn’t imagine doing this without him!

JHP: Gaston isn’t just your character’s name, it’s also the title of your big production number. Does choreographer Anna Perry have some fun surprises in store for fans of Gaston’s self-adoring sequence?

PAUL BASWELL: Without giving too much away, I’ll be chugging beer and belching! : Anna has done an amazing job with the entire show, and I can guarantee that you won’t be disappointed with Gaston. Everyone knows she can create gorgeous dance sequences, but the audience will be pleasantly surprised to see that she also has a knack for staging delightful bar scenes and brawls!

RAPID FIRE WITH JENNIFER WHITCOMB-OLIVA, MADAME DE LA GRANDE BOUCHE IN BEAUTY AND THE BEAST

JHP: Tell me about Madame De La Grande Bouche.

JENNIFER WHITCOMB-OLIVA: The Madame is quite the character. She is the life of the party, and she’s always ready for one! She’s kind of like the wacky Aunt at all of your family gatherings.

JHP: In the classic 1991 animated film, your character, though called simply Wardrobe, was voiced by hilarious comedian, Jo Anne Worley. In the 2017 live action remake, Garderobe was played by the always divalicious Audra McDonald. Having known you for a few years now, I can totally see aspects of both of these grande dames in you. Would Playful Diva accurately describe your Madame De La Grande Bouche?

JENNIFER WHITCOMB-OLIVA: I think my Madame definitely has a sense of play. I think she comes off silly at times, only because she is completely serious in everything she does. Before she was Enchanted, she was THE opera diva. She was commanding the royal stage. So she is ready to bring in thunderous applause, but she also has no patience for ridiculousness. Madame Bouche would not be the woman to anger. As long as you let her be the center of attention, you can sit with her.

JHP: It’s been a minute since you’ve been in a Studio Tenn production. What are you enjoying most about being part of this show?

JENNIFER WHITCOMB-OLIVA: I am just absolutely having a ball! I love fantasy so much! What could possibly be better, than playing and enchanted object, and singing a Disney score?! I also love any chance I get to use my classical voice. My roots are in classical music, so it always feels special when I get to sing it.

JHP: As Madame De La Grande Bouche, many if your scenes are with Hatty. What’s she like as a scene partner?

JENNIFER WHITCOMB-OLIVA: Hatty is such a treasure. I love every moment I get to share with her. She’s such a warm, and giving scene partner. She has a way of making everything seem so natural. The way she glides from song to scene with such passion, is so wonderful to watch.

RAPID FIRE WITH BRADLEY GALE, LUMIERE IN BEAUTY AND THE BEAST

JHP: What do we need to know about Lumiere?

BRADLEY GALE: I’d say the only thing you really need to know about Lumiere is that he’s sassy, the opposite of tight-lipped, never afraid to be in the “spotlight”, but most importantly loyal and loving (sometimes to a fault!)

JHP: Lumiere is frequently paired on-stage with Cogsworth, played in this production by Shawn Knight. Tell me about working opposite him?

BRADLEY GALE: It’s always a little nerve wracking when you’re the new kid in school especially when the teacher pairs you up to partner on a project with someone like Shawn Knight! But after our first encounter in callbacks he immediately pushed my fears aside. Shawn is a master class in timing and moreover a generous and supportive scene partner. From day one we started a witty banter full of the perfect balance of loath and love and now we’ve taken it to the stage.  I’ll let the audience be the ultimate judge; but I’m very proud of what we’ve been able to create together in such a short amount of time; as Shawn said on day one of rehearsals, “when shopping for Cogsworth memorabilia at Disney World…You just can’t buy Cogsworth without Lumiere!”.  And I wouldn’t want it any other way!

JHP: Aside from the show’s titular tune, Something There is probably my favorite. Wanna take a minute to just gush about what it’s like to be in a show with such a gorgeous score written by musical theatre legends Alan Menken, Tim Rice and Howard Ashman?

BRADLEY GALE: Singing the music of Beauty and the Beast is nearly every musical theatre kids dream come true. Its themes are probably some of the most recognizable musical themes of our time and the harmonies you’ll hear are EXACTLY what you want to hear at the end of every belty show-stopping number! When you add in voices like those assembled for this production its a soundtrack that I’ll happily be listening to on repeat through the month of December. Aside from the on stage voices just wait till you hear this orchestra under Stephen Kumer!

JHP: I frequently say I could live on a Studio Tenn set. Mitch White is designing the set for Beauty and the Beast. What can you tell me about it and other technical aspects of the show?

BRADLEY GALE: Mitch White never disappoints and this one is a doozy. You’ll walk in to Jamison Hall and immediately feel like you’ve walked into the castle. I don’t want to ruin any surprises but let’s just say;  it’s huge and it is Blue-tiful. ;-P. Don’t even get me started on the costumes and wigs! Blake Danford has designed and executed amongst numerous other magical pieces, a set of the coolest Candle stick hands I’ve ever seen…And yes they do light up!!!  Also, Allison Hearn has made me feel like a gorgeous hair model from Versailles! Much love and gratitude to our amazing design team!

RAPID FIRE WITH PATRICK THOMAS, THE BEAST IN BEAUTY AND THE BEAST

JHP: Who is The Beast to you?

PATRICK THOMAS: The Beast, though a magical Disney character, is still very much a human like any of us. He is any one who has ever let their circumstances define them. He blames a world he does not understand instead of his own shortcomings for his misfortunes. Unable to see the goodness around him he is temperamental, withdrawn, and full of self-loathing. In the most human way possible, it takes real love and inner beauty to thaw a heart that had long grown cold.

JHP: Playing The Beast isn’t just extra hair/makeup/prosthetics. I’m guessing it’s also a different approach to your physicality, speech and attitude. Is there one of these aspect that, once you’ve adapted it, you feel you become The Beast?

PATRICK THOMAS: Not necessarily. It’s a combination of the costume, the lower vocal placement, wider stance, broader shoulders, all of it really. Needless to say I’ve spent lots of time in front of a mirror lately in an effort to get it just right.

JHP: Some Studio Tenn audiences might remember you best for your appearances in the company’s popular Legacy series or the performance-heavy Christmas specials. Those are pretty straight-forward music performances, rather than theatrical characters with a bit of dialogue and character development. How much fun are you having stepping into a character like The Beast?

PATRICK THOMAS: This feels like a return to my roots (though most wouldn’t know it.) Both my parents were Broadway actors so I grew up hearing musical theatre. Having the chance to act and sing in a totally different style has been quite freeing. It’s a nice break from my pop/country music career.

JHP: While The Beast eventually shows his softer side, much of the show sees him grousing and gnarling at those closest to him. Do you see parallels between The Beast’s emotional transformation and the overall moral of the show?

PATRICK THOMAS: Of course. No one tells a story like Disney and there’s a reason this one is such a classic. Hopefully as audiences watch this magical production they will pick up on the underlying theme. Beauty is indeed found within. And hey, even if they miss it, at the very least we hope everyone will leave thoroughly entertained.

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With Studio Tenn’s flawless history of presenting Broadway-worthy productions time and time again, there’s no doubt their production of Beauty and the Beast will be talked about until the final petal falls. Studio Tenn’s Beauty and the Beast plays Jamison Hall at The Factory at Franklin with select matinee and evening performances from Friday, December 7 thru Sunday, December 30. Thursday thru Sunday evening performances begin at 7 p.m. Saturday and Sunday matinees begin at 2 p.m. Special Wednesday, December 26 performances will be at 2 p.m. and 7 p.m. Tickets range in price from $30-$90. CLICK HERE to purchase tickets.

Following the 7 p.m. Sunday, December 9 performance, Studio Tenn is offering an exclusive post-show Meet and Greet with Belle for an additional $5. CLICK HERE to purchase the additional Meet and Greet tickets. On Saturday, December 15 and Saturday, December 22, Studio Tenn is offering Backstage Tours at 12noon prior to the 2 p.m. matinee performance on those two days. CLICK HERE to purchase the additional Backstage Tour tickets.

After Beauty and the Beast, Studio Tenn’s 2018/2019 Season continues with Tennessee William’s Cat on a Hot Tin Roof from Friday, February 8 thru Sunday, February 17. That will be followed by this year’s Legacy Series entry, The Sinatra Legacy: A Tribute to Ol’ Blue Eyes, onstage at The Franklin Theatre, Thursday, March 14-Sunday, March 17. Studio Tenn will wrap their current season with Damn Yankees from Friday, May 17 until Sunday, June 2. CLICK HERE for tickets or more information.Be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

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