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Rapid Fire 20Q with cast members of ‘Footloose: The Musical’; onstage at The Keeton beginning August 9

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Some 25 years after its Broadway debut, and 40 years after the source material’s film premiere, The Keeton Theatre (108 Donelson Pike, Nashville, TN 37214) is ready to cut loose as they present Footloose: The Musical. Just days before their Friday, August 9 opening, I recently had the chance to chat with the show’s stars Konnor Dolberry and Bryli Evans, who play Ren McCormack and Ariel Moore, as well as Kevin Driver (The Reverend Moore) and Laura Amond (Ethel McCormack) for my latest Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH CAST OF THE KEETON DINNER THEATRE’S FOOTLOOSE: THE MUSICAL

RAPID FIRE WITH FOOTLOOSE’s REN McCORMACK, KONNOR DOLBERRY

JHPENTERTAINMENT: I understand getting the chance to perform in Footloose on stage has been a longtime coming, as you were to have played Ren McCormack in your high school production back in 2020, but the world had other plans. How excited are you to be getting the chance now?

KONNOR DOLBERRY: It’s literally a dream come true. Ever since I was cast for this role the first time, I felt a real connection to the character, and it almost became a part of me after it was cancelled. Now finally getting to revisit it 4 years later, It’s allowed me to see the whole story through a different lens, and I think it was definitely worth the wait!

JHPENTERTAINMENT: Not only will this be your debut as Ren, it’s also your debut with The Keeton, the only dinner theatre in the Nashville area. What’s your Keeton experience been like thus far?

KONNOR DOLBERRY: The Keeton has been nothing but welcoming throughout this whole process. Those who have been around the Keeton for a while have really brought me into the family!

JHPENTERTAINMENT: Who is Ren McCormack to you?

KONNOR DOLBERRY: Ren is a High School kid who is wildly misunderstood by just about everyone except for his Mom Ethel, his best friend Willard, and his new girlfriend Ariel. He’s charming, witty, and doesn’t care about what anyone thinks of him, but after his Dad left and he was forced to move from Chicago to Bomont, it leaves him wounded in ways that are revealed to him throughout the show.

JHPENTERTAINMENT: Roger Hutson serves as Music Director for The Keeton’s Footloose. A musician yourself, how has it been working with him in this capacity?

KONNOR DOLBERRY: It has been wonderful working with Roger! He always brings the jokes to rehearsals which is always fun, and he is always willing to go the extra mile to help you with parts!

JHPENTERTAINMENT: As alluded above, when not pursuing your acting career, you’re frequently onstage in another capacity, as frontman for The Band Light. What similarities do you find between these two seemingly different styles of performing?

KONNOR DOLBERRY: Theatre has always been at the heart of what I do with The Band Light, as we all met through our high school’s theatre program. It’s a defining part of who we each are as individuals, and as a band. Any time I step out on stage, my number one goal is to entertain the audience, but when performing in a musical, It allows me to completely escape into this other world, and get to express myself in a new way. It has been almost 2 years since I have done Theatre in any capacity, so this show has definitely reminded me of my love for it!

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RAPID FIRE WITH FOOTLOOSE’s ARIEL MOORE, BRYLI EVANS

JHPENTERTAINMENT: You play Ariel Moore in The Keeton’s Footloose. How are you most like the character you’re playing?

BRYLI EVANS: Ariel is very headstrong and independent and I would like to think I share those qualities with her. I feel like as soon as I was cast, I could instantly relate to her in many ways, but those are the two biggest similarities. 

JHPENTERTAINMENT: On the flip, what is it about Ariel’s persona that is farthest away from your own personality?

BRYLI EVANS: There’s a song in the show called The Girl Get’s Around… which I would think is pretty self explanatory. To keep it simple, this girl doesn’t really get around. 

JHPENTERTAINMENT: Anyone who’s seen the original Kevin Bacon/Lori Singer film or the musical adaptation knows there’s plenty of choreo. I mean it IS the story of a small town that outlawed dancing and the kid who challenges that. To that end, Heidi Buyck is the show’s choreographer. How has it been to work with Heidi and what’s your favorite choreo moment in the show, whether it be your own, or that of your co-stars?

BRYLI EVANS: I cannot even begin to explain how incredible Heidi is – she is a GENIUS!! Working with her has been a dream come true. She has been so patient with me (I’m really not much of a dancer) and has pushed me to be the best version of my character in a way that no one has ever really pushed me before. I absolutely adore her. And the choreography in Let’s Hear it for the Boy HAS to be my favorite! 

JHPENTERTAINMENT: Ariel’s best friends are Rusty, Wendy Jo and Urleen, played by T-Cat Ledo, Julia Mowry and Abby Webb respectively. Can you give me one word each to describe these besties?

BRYLI EVANS: It’s so hard to just pick one word for each of them, I feel like I could write three whole paragraphs on how incredible they are. Julia has one of the kindest hearts I’ve ever known, Abby was an instant friend to me and has done nothing but make me smile during every interaction we’ve ever had, and T-Cat has this electric energy that you can’t help but gravitate towards. I have had the BEST time working with these wildly talented ladies!!

RAPID FIRE WITH FOOTLOOSE’s REVEREND MOORE, KEVIN DRIVER

JHPENTERTAINMENT: Who is the Reverend Moore to you?

KEVIN DRIVER: Reverend Moore is the minister of the church most of the residents of the small town of Bomont attend. I think Moore’s caring boundaries are extensive, but they center around his family. He’s overly protective of his remaining child. He would like to keep her in bubble wrap if he could to keep her safe. Ultimately, he knows he can’t control everything she does, so he is worried all the time.

JHPENTERTAINMENT: Keeton patron’s no doubt know you not only for recent on-stage roles in recent productions of Memphis, Songwriter Night and Evita, but also for having designed and built each and every set for the past three Keeton seasons. In fact, in addition to playing Reverend Moore, you’re also tasked with the behind-the-scenes gig of the show’s Technical Director. For the uninitiated, what all does that job entail?

KEVIN DRIVER: My goal is to make sure the director’s vision is met with regards to the set design and build to the best of my ability and stay in budget. I help the stage managers with organization backstage so that they can run the smoothest show possible. I also work closely with the lighting and sound designers to make sure they have what they need. I try to prioritize the set at the very beginning of the rehearsal period to get it built and usable as soon as possible. Being an actor in this show, I want to give both my roles as Technical Director and actor all of my attention, so I try to focus more on the technical end at the beginning so I can flip the switch and put my focus on my acting. It’s difficult to schedule it all, especially because I have a full-time job during the weekdays, and it’s why I don’t perform in the shows that often.

JHPENTERTAINMENT: Another little fun BTS bit of info…as Reverend Moore, you’re leading lady, Vi Moore is being played by your real-life leading lady, your wife, Donna Driver who’s also Keeton’s Managing Administrator. What’s the advantage of playing opposite your wife? 

KEVIN DRIVER: Being the real-life husband of the woman who plays my wife on stage does have a lot of benefits. We can rehearse on our own time and work on our scenes. I can tap into her acting knowledge and advice. In the scenes, my acting choices feel more genuine instead of staged. We’ve also raised our three combined daughters through their teenage years into adulthood. Discussions about their behavior and choices aren’t new to us, so we are able to tap into those memories and feelings.

JHPENTERTAINMENT: The Reverend is pegged as the show’s antagonist. Heck, did you know the character even has his own entry on Villains Wiki? Convince me he’s NOT the villain of the piece?

KEVIN DRIVER: I don’t believe you can be a villain if you have good intentions behind your actions. The whole town suffered after the Potawney Bridge accident that killed four teens, including his son. Reverend Moore strove to help everyone and himself through the grieving by trying to prevent this kind of pain from happening again. He’s convinced that dancing leads to dangerous behaviors, and the adults of the town agree with him. He’s holding too tightly to his pain and has to learn, through Ren and his daughter Ariel, to change and grow. Yes, he’s an antagonist for Ren, but he’s not a villain. 

JHPENTERTAINMENT: I’m guessing you were familiar with the source material. Now, fast-forward 40 years since the film’s debut and you’re father to two daughters yourself. Has your personal perception of the Reverend changed since first viewing the film back in 1984.

KEVIN DRIVER: When the movie came out, I was twenty years old. I grew up here in Tennessee, so the setting of a small rural town was familiar to me. I definitely sided more with Ren, the teens, and their rebellious need to find fun things to do. Now, forty years later, I am more able to see Reverend Moore’s side of the story better. As I mentioned, I have two daughters and have raised my step-daughter most of her life. Sometimes their choices have made me angry, frustrated, or scared, and sometimes I’ve felt powerless to help. It’s difficult to judge when to step in and when to back off. I still think Ren should get his dance, but I better understand now why Reverend Moore is so set against it.

RAPID FIRE WITH FOOTLOOSE’s ETHEL McCORMICK, LAURA AMOND

JHPENTERTAINMENT: What is it about the role of Ethel that made you want to audition?

LAURA AMOND: As a single mom myself, I can really identify with Ethel. She is navigating the uncertainty and challenges of life as a single mom, while trying to remain strong for her son. She says at the top of the show that she’s not one of those “strong single mothers”, but truly, her heart and spirit are. She is Ren’s consummate cheerleader in the face of diversity, and pillar of wisdom who lifts him up when he needs reminded of his own strength. Ethel reminds me that I am also stronger than I sometimes believe and that in the end, love is all we need.

JHPENTERTAINMENT: You mention in your bio that you’re among the few cast members who remembers the original film version. It’s a little mind-blowing that it’s been 40 years since Kevin Bacon danced across the screen as Ren McCormick, now here you are playing Konnor Dolberry’s Ren’s Mom. As a Mom in real life, what motherly advice would you offer the younger costars?

LAURA AMOND: Honestly, Jonathan, I think I learn from my younger costars every day. They remind me to embrace every opportunity, to take constructive criticism as an opportunity to grow, to show kindness and relentless support for one another, and to practice gratitude in all things. Most of all, they remind me about the importance of community and just how much my extended theatre family has shaped my life in the very best way possible.

JHPENTERTAINMENT: For those of us of a certain age, there’s just something about the beginning beat of the title tune made famous by Kenny Loggins when it was included on the movie soundtrack. Of course as musical, the score has been expanded to include familiar tunes and material written specifically for the stage adaptation. What’s your favorite musical moment in the show, and why?

LAURA AMOND: Oh goodness, it’s so tough to choose just one! Footloose was absolutely one of the soundtracks of my teenage years, so the songs bring back a ton of personal memories. Was there any high school prom in 1984 that didn’t have an Almost Paradise theme?!

Specific to this production, there are so many brilliant moments given the stellar vocals of the entire cast.  Familiar tunes from the soundtrack, Almost Paradise (performed to perfection by Konnor Dolberry and Bryli Evans); Let’s Hear it for the Boy (Takiah Ledo SLAYS!), and two songs performed by the trio of Takiah Ledo, Julia Mowry and Abby Webb, Somebody’s Eyes and I Need A Hero are even better than the original with these gals at the helm. Trust me, they are FIRE! 

With respect to the songs written specifically for the stage adaptation, there are numbers which bring levity and reflection. Mama Says brings down the house as performed by Riley Morris and the trio of Jack Forte, William Richardson, and Levi Carter. More sentimental moments come from the adult cast.  Learning to Be Silent (Donna Driver, Bryli Evans and myself) reflects on the patriarchal suppression of women’s voices, Heaven Help Me (Kevin Driver at his absolute best) shows the Reverend’s internal struggle with being the moral leader of the town amidst a personal struggle, and Donna Driver’s poignant Can You Find it in Your Heart depicts the loyal wife trying to help her family find balance again after tragedy.

JHPENTERTAINMENT: Footloose is being directed by Susan Walsworth. You both first shared the stage back in 2012 in Circle Players’ production of Titanic. How’s Susan as a director?

LAURA AMOND: I can’t say enough about Susan! You’re right, we shared the stage in 2012 and many times since, most recently (if 2018 can be considered recent) in Circle Players’ The Full Monty where she was absolutely brilliant as Jeannette. To know Susan is to love her – on and off stage. She is kind, generous with her time and talent, and passionate about everything she does. I know Susan as a mom, a friend, a castmate and now a director, and I can honestly say she leads with her heart in every role she plays.

For the people who come to see the show, it’s clear that Susan is equally talented as a director as she is on the stage. Her eye for casting is evident with the talent she has assembled in this production. Her attention to detail with blocking, transitions and sharing her vision take an already stellar performance to the next level. She treats every individual with kindness and respect and in so doing, brings out the best in every artist. She makes you feel safe to make bold choices and knows when to reel you in. And because Susan’s humility is second-to-none, I know she would want me to say that she is made better by her production team for bringing her vision to life (Heidi Buyck/choreographer, Roger Hutson/music director, Dylan Kim/stage manager, Madison Soper/assistant stage manager, Kevin Driver/set design, Megan Whitney/costumes, Tabby Ragland/props).

I have been proud to share the stage with Susan many times and it has been inspiring to see my friend shine as director. I will not hesitate to audition for any production in the future with her at the helm, because her passion breeds joy throughout the process. This show has been a gift to me in so many ways, and I have Susan to thank for that.

JHPENTERTAINMENT: I like to end these chats by asking a variation of this question, so since you’re my final chat today, it’s all you…What do you hope audiences come away remembering after seeing The Keeton’s production of Footloose?

LAURA AMOND: In this time of division in our society, I think Footloose is a great reminder of the power of the collective to affect change. It celebrates the human spirit and the idea that some norms need to be challenged in order to evolve. The true champions of the show are the young people who help to lead their community to a more joyful future. Every day the young cast inspires me with their wisdom, passion, and commitment to this theme, and I am reminded that our collective future is in good hands with the younger generation today. Perhaps we should follow the lead of Reverend Shaw by listening more often so that we can realize a future of acceptance, joy, celebration and harmony. 

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Footloose: The Musical opens at The Keeton Friday, August 9 thru Sunday, August 25. Dinner and Show tickets are $40 for Adults and $35 for Children*. Show Only tickets are $30. CLICK HERE to purchase tickets. Next up at The Keeton is William Inge’s Bus Stop, with performances October 11- 27.  WATCH THIS LINK for tickets or more information soon.

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

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

*at the time of this article, most of the performances of Footloose: The Musical had already SOLD OUT, but don’t put away your dancing shoes just yet. Check the schedule and if there’s a show date you want to attend, give the box office a call to see if there’s any tickets available.

 

Laura Michelle Kelly and David Shannon to headline Nashville Rep’s ‘Sunday in the Park with George’; part of The Rep’s 40th Anniversary Season

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In a press released to media outlets early Monday, July 29, Nashville Repertory Theatre announced that two stars from Broadway and London’s West End will be leading its production of Sunday in the Park with George, which will be presented April 4 – 13, 2025, at the Tennessee Performing Arts Center as the final production of the theatre’s 40th anniversary season.

Leading the cast in the role of George will be David Shannon. Mr. Shannon is an Irish actor often called “Ireland’s Greatest Showman.” He has performed many iconic stage roles in London’s West End and beyond, including The Phantom of the Opera, Valjean in Les Miserables, Miss Trunchbull in Matilda, and Sweeney in Sweeney Todd. He played Kevin T in the original London company and North American tour of Come From Away, and he was nominated for an Olivier Award for his performance in The Beautiful Game. Critics throughout the UK have heralded Mr. Shannon, calling him “…compellingly intense and beautifully voiced,” and “truly one of West End’s finest.” In addition to his theatrical work, he sings with some of the world’s leading orchestras.

In the role of George’s lover Dot will be Olivier Award-winning actress Laura Michelle Kelly. Ms. Kelly is best known as the original Mary Poppins in the world premiere of Disney’s Mary Poppins, a role she played both on Broadway and the West End, a performance the London Evening Standard said was, “nothing short of magical.” Her other critically lauded roles include Eliza Doolittle in My Fair Lady on the West End, which was described as a “tour de force” by the Evening Standard; and Sylvia Llewelyn Davies in Finding Neverland on Broadway, where New York critics said she brought “a radiant presence and a voice of pure enchantment. Ms. Kelly has played a host of other well-known roles in London, including Eponine in Les Miserables, Sophie in Mamma Mia, and Belle in Beauty and the Beast. Her other Broadway/NY shows include Fiddler on the Roof and the Encore’s production of Me and My Girl. She also was seen in the film version of Sweeney Todd as The Beggar Woman.

“We are thrilled to have Laura and David join our cast,” says Micah-Shane Brewer, Artistic Director of Nashville Repertory Theatre. “This show has always held a special place in my heart. When planning our 40th anniversary season, Sunday in the Park spoke to us as an excellent piece to produce to honor 40 years of creating art. Both Laura and David bring extraordinary talent and heart to these complicated roles, and I look forward to telling this story with them and the other talented cast members in this production.”

Joining Ms. Kelly and Mr. Shannon in the cast will be Nancy Allen as Old Lady, Sejal Mehta as Nurse, James Crawford as Jules, Carrie Brewer as Yvonne, James Rudolph as Boatman, Ian Frazier as Franz, Maria Logan as Frieda, Eric Sorrels as Soldier, Scott Rice as Mr., Christine Toole as Celeste #1, Mariah Parris as Celeste #2, and Brynn Pray as Louise. Sunday in the Park with George will be directed by Artistic Director Micah-Shane Brewer and music directed by Steve Kummer.

Nashville Repertory Theatre’s 40th anniversary season includes the smash hit Sara Bareilles musical Waitress; the Pulitzer Prize-winning play Our Town; Nashville Rep’s original adaptation of Charles Dickens’ A Christmas Carol; the drama The Mountaintop by Tennessee native Katori Hall; and Sunday in the Park with George, one of the few musicals to win the Pulitzer Prize. For tickets and information, CLICK HERE.

Up next for Nashville Rep is their 9th annual Broadway Brunch August 18, held this year at Music City Center. CLICK HERE for tickets or more info. Nashville Rep’s 40th Anniversary Season then kicks off with Waitress on stage at continues at TPAC’s Polk Theatre September 13-22. CLICK HERE for tickets. In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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

Rapid Fire 20Q with cast and director of ‘Sordid Lives’ opening Friday, July 26 at Playhouse 615

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Sordid Lives is arguably not only one of the most beloved modern era stage plays, but also an important piece of LGBTQ+ history. Not only was it written and originally directed by the the queer community’s most prolific playwright, Del Shores, but the original production, as well as the subsequent 2001 film adaptation, a prequel tv series and another cinematic sequel all featured the late great Leslie Jordan in the pivotal role of Brother Boy. With that in mind, when I heard Playhouse 615 was mounting their own production of the original stage play, I knew I wanted to catch up with a few of this production’s stars, including: Steve Raimo (Brother Boy), Mick Grayson (Ty), Robert Coles (Wardell), Diane Bearden (Aunt Sissy) and director, Erin Grace Bailey for my latest Rapid Fire 20Q interview.

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RAPID FIRE 20Q WITH STARS AND DIRECTOR OF PLAYHOUSE 615’s SORDID LIVES

RAPID FIRE WITH MICK GRAYSON, TY WILLIAMSON IN SORDID LIVES

JHPENTERTAINMENT: What is it about Ty that make you want to take on this role?

MICK GRAYSON: I’ll be totally honest – I went into the audition pretty blind. I had merely read the description of the play at the time, and chose the role whose description best fit me. I try to let myself be surprised when I do a cold read for an audition, as we did with Sordid Lives, because I want to use my instincts to drive what character choices I would make. Now that we have spent several weeks developing these characters, I feel like Ty is an interesting juxtaposition as he is simultaneously the audience’s “everyman” who helps ground the show, while also demonstrating that even those in the higher social castes (celebrities in this instance) are not immune to social stigmas. Ty’s story is a deeply personal one that echoes throughout the rest of the characters’ stories, and that echoing alongside the amazing work of the rest of the cast helps to make everyone in the show more realistic and not caricatures.

JHPENTERTAINMENT: I understand you studied Acting at UT Knoxville. Anyone who reads my column with any regularity knows that I always ask the following on UT alum…Did you have any opportunity to study under my friend Carol Mayo Jenkins? AND…What is something you learned during your time at UT that you value as a life lesson you’ll not soon forget?

MICK GRAYSON: I sadly did not get much of a chance to work with Carol in a classroom setting, but I did work with her backstage on multiple shows. Due to the very high standards and requirements for actors at the Clarence Brown Theatre, I worked on over a dozen shows as part of different backstage crews, so I never got to see the process of Carol going through and building her characters with the directors, but I do remember the level of commitment she brought to every show when I saw her work.

As for life lessons, I think one of the biggest ones was about finding and building your own community. In my bio, I mentioned my gratitude for the support of both my related and chosen family. You wind up connecting so deeply with people you work on productions with, and quickly learn how you can and need to rely on them. It’s funny because I frequently worked the annual Christmas Carol shows at the Clarence Brown, and between days with multiple shows, children’s performances, the long run of the show, and the fact that it coincides with final exams, it was an incredibly stressful and tiring experience, but also some of the most memorable times at UT came from doing those shows.

JHPENTERTAINMENT: In your show bio you’re very honest about the fact that you’re disabled. That hit a chord with me, as I myself am physically disabled. How important is it for you to be a performer, showcase your talents and focusing on your ability, as opposed to your disability?

MICK GRAYSON: I think we can thank my mom for that one. She was a lion when it came to my illness-she never shied away from the severity of it, but she never made it where the illness was my only defining quality. When she was looking to enroll me in pre-school, she made where I would be introduced to the teachers and they could get to know me and how I operate BEFORE disclosing my illness to them; not as a means of staving off rejection from the school, but to indicate that I am more than my health condition.

I’ve applied that now as an adult, to where I recognize my limits, but never want that to be limit the quality of my life. I am fortunate in that for the most part, my disability is invisible. Most people who see me wouldn’t know I have any issues, and that makes it easier to avoid any discrimination or external limitation. But I think it’s important to be represented in this space so those who identify as disabled or who do have significant health problems can reduce their self-imposed limitations and live more on their own terms.

JHPENTERTAINMENT: I understand is your first time working with Playhouse 615. How has the experience been so far?

MICK GRAYSON: I’ve loved it. I’ve been out of this world for several years after COVID, and the team has made me feel right at home right out the gate. No production is without its snags, and Erin Grace has been a great champion of the play itself and supportive of the cast as we all work through our individual issues. I’m also impressed by the work that the cast has put forth in trying to connect with this story and their characters to make it hysterical while keeping its poignancy. For a return to the performing world, I don’t think I could have asked for a better set up.

RAPID FIRE WITH STEVE RAIMO, BROTHER BOY IN SORDID LIVES

JHPENTERTAINMENT: You’re playing Brother Boy, a role made famous by the late, great Leslie Jordan. I know you’re as big a fan of this work as well as the two feature films and the tv series based on the play. So how are you finding a balance between honoring the iconic character created so perfectly by Leslie while making it your own?

STEVE RAIMO: What an honor it is to portray the character of Brother Boy, and I can only hope that I do the character justice for Del Shores, and that Leslie will smile on me from above. Those are some pretty big heels to fill.  Because this character is so genuine, it’s so much fun to try and bring them to life for an audience.  I remember the first time watching the movie, I fell in love with Brother Boy, and I have put my heart into this role to have our audience fall in love with him too.

JHPENTERTAINMENT: Not long after the cast of Playhouse 615’s Sordid Lives was announced, you and I chatted and you asked me if I had any advice in your portrayal. After I paraphrased RuPaul’s “Don’t F it Up”, I suggested that you not play Brother Boy’s drag scenes with the same self-assuredness that you bring to the stage in your drag persona, Veronika Electronika. Have you taken that advice, and how do you see Veronika and Brother Boy’s Tammy Wynette drag as different characters?

STEVE RAIMO: Veronika via Steve is so different from Tammy via Brother Boy.  They approach their stage personas in different ways. To Brother Boy, Tammy gives him life, he idolized her, while Steve gives Veronika life; she’s nothing without him. I’ve had to step out of my comfort zone and put the drag diva to the side and let Brother Boys love for Tammy shine through.

JHPENTERTAINMENT: On the flip side, are there indeed similarities between Tammy and Veronika?

STEVE RAIMO: If there are similarities,  it’s that they are there to entertain. Brother Boy’s Tammy to the patients at the state hospital, and Steve’s Veronika to audiences at venues across Nashville and beyond; but at the end of the day, us Queens are here to bring Joy!

JHPENTERTAINMENT: Why was it important that you not only audition for this role, but that you get it?

STEVE RAIMO: Well, as a potential Class D felon, in the eyes of the State of TN I feel that it is important to have drag representation in theater. Roles like Hedwig, Alban, Mrs.Turnblad and of course Brother Boy are just the roles that showcase the versatility of what drag is (and what it isn’t).

RAPID FIRE WITH DIANE BEARDEN, SISSY HICKEY IN SORDID LIVES

JHPENTERTAINMENT: What can you tell me about Sissy Hickey, the character you play in Sordid Lives?

DIANE BEARDEN: A mediator, listener, friend, sister, aunt, smoker and, bless her heart, white trash.

JHPENTERTAINMENT: Sissy is one of my favorite characters in the Sordid Lives universe, partly because she’s got some real zingers and great comebacks. Do you have a personal favorite Sissy-ism? 

DIANE BEARDEN: “Jesus Called, Peggy Answered….Awwwwww”. Coming in a close second, “Bless’er heart. Had more troubles than Christ on the cross.”  

JHPENTERTAINMENT: You were last seen on stage at Playhouse 615 in their recent production of Nunsense, you directed their production of The Sugar Bean Sisters and you’re a member of their Board of Directors. What is it about Playhouse 615 that keeps you coming back?

DIANE BEARDEN: I have a real soft spot for this theatre. I’ve been with them since the beginning. Exciting stuff happening at Playhouse 615. 

JHPENTERTAINMENT: Is there a character trait of Sissy’s that you’d like to adapt to your own life?

DIANE BEARDEN: Quite frankly, I already possess most of Sissy’s traits. The only difference really is I don’t smoke. Typecasting at it’s finest.  🙂

RAPID FIRE WITH ROBERT COLES, WARDELL ‘BUBBA’ OWENS IN SORDID LIVES

JHPENTERTAINMENT: While coordinating these chats with you and your cast and director, you revealed to me that you’ve never actually seen Sordid Lives, not onstage, not the films, not the tv series. Do I need to revoke your gay card? Seriously though, you also went on to tell me that you wouldn’t be viewing any of the source material so as not to sway your portrayal of Wardell. That said. Who is Wardell to you?

ROBERT COLES: Haha! You’re not the first person to try to revoke my gay card because of this! Alas, I have not seen Sordid Lives. In fact, I didn’t do any research prior to auditions, and never read the full script until our read through! Once cast, I didn’t want to watch the material to make sure I was creating a character that is authentically mine. Wardell is such an interesting character. We see him go through a full spectrum of emotions in about 30 minutes, and ultimately attempt to redeem himself. He’s deeply flawed, deeply remorseful, and takes the opportunity given to him to make things right. I’ve enjoyed not only getting into the emotions of the character, but also the physicality of him. Wearing the tight Wranglers and boots, walking more “straight,” and stripping down to my underwear have all pushed me mentally and physically to be a better actor. 

JHPENTERTAINMENT: What’s been the most challenging aspect of playing Wardell?

ROBERT COLES: We’re dealing with some heavy subject matter in this show, and we try to do it with humor and grace. For me, some of the lines I say are very hard to deliver as an out and proud gay man. But, they’re also very healing for me. As someone who has faced discrimination for being gay, I’ve been able to heal myself by saying these lines via Wardell that I wish were said to me. I’m hoping to bring some humor and laughs to the stage, while also showing that we are all flawed, but all capable of change. As someone who has made tons of mistakes, Wardell and I are on the same path. I work every day to continue to correct mine and make amends. 

JHPENTERTAINMENT: Now that you’ve read the script and are fully immersed in the Sordid Lives world, if the opportunity ever arose and you could play another character, who would it be and why?

ROBERT COLES: Oh, goodness!! This is an excellent question. If I could play any character, it would probably be Sissy. But, I think that’s only because of the brilliance I see in Diane’s performance every night. Her comedic timing is just too brilliant. And I love how she’s playing this almost totally strait-laced character who has to hold everyone and everything together at all times. 

If I needed to play one of the male characters though, I would want to play Ty. I love the monologues he delivers. He says so much of what so many gay men are feeling and thinking as they navigate their coming-out journey. And Mick’s performance is so outstanding. 

JHPENTERTAINMENT: I’m gonna go a little off-script here and ask you about a couple original plays of yours that you’ve got coming up. What can you tell me about Aunt Sally’s Wild Ride and Lithium & Xanax & All of My Friends?

ROBERT COLES: While I love being on stage, I think my true passion is in writing and storytelling. I’m very excited and honored to have two of my shows running back to back and receiving their world premieres here in Nashville in September and October! 

Lithium & Xanax & All of My Friends is a semi-autobiographical drama about a gay man, Adam, who has difficulty coming to terms with past traumas. His friends gather together one night to stage an intervention and force him to deal with his past so he can move forward, or face the consequences if he doesn’t. This show is unique in that it has three different endings, and Adam gets to decide in the moment which ending he wants to tell that night, forcing the audience and his fellow actors to truly be in the moment to tell the story. I’m very excited that this show will also be premiering Off-Broadway in New York City with Theatre 4the People in 2025! The show runs October 4-12 at the Darkhorse Theatre, and tickets can be purchased at bsntheatre.org

Aunt Sally’s Wild Ride is my love letter to Nashville and good old fashioned southern comedies. I’m very excited that Playhouse 615 was interested in partnering for this production to give it a quality world premiere before the show becomes available for licensing worldwide next year. The basic storyline is that Aunt Sally (who will be played by the brilliantly talented Linda Spier) has had enough of her boring routine and starts to go a bit off the rails. Her family gathers together out of concern for her eccentric behaviors (and to ensure she doesn’t spend their inheritance) and chaos ensues. It’s full of fun Nashville references and hilarious characters, and at the end of the day, it’s about family. And, each character is based on a member of my own family! This show runs September 13-29 at Playhouse 615 and tickets will be on-sale soon!

RAPID FIRE WITH SORDID LIVES DIRECTOR, ERIN GRACE BAILEY

JHPENTERTAINMENT: While I gave Robert a bit of a hard time for having never seen the source material, I’m curious what advice as a director you gave your cast on finding their own versions of these iconic and beloved characters?

ERIN GRACE BAILEY: Well, it’s sort of a fine line, right? Iconic characters are iconic for a reason, and while we might want to give a nod to the film, we don’t want to steal those artists’ artistic integrity. Besides, film acting and stage acting are very different. Some things don’t translate as well on stage. 

This might be controversial of me, but I always tell my actors, if there’s a movie of a play that I’m directing and they’ve never seen it, don’t watch it. Let the text speak for itself. At the end of the day, we’re there to tell a relatable story, not create a caricature of someone else.

JHPENTERTAINMENT: Who else have you got working with you to bring your vision to life behind the scenes as far as set design, props, wardrobe, hair and makeup?

ERIN GRACE BAILEY: I’ve been really lucky to have such a devoted cast. It’s been a “all hands on deck” production. Most of my designers you’ll also see on stage. Mick Grayson who plays Ty has sort of been my right hand, especially the last week or so. He stayed with me at the theatre until 2 am one night doing our light design while I did sound. Rich Moses who plays GW and my stage manager Kaleigh Reichert did our set, and everybody has pitched in with props and costumes. It’s been a lot of fun. We’ve really become a family.

JHPENTERTAINMENT: Playhouse 615 is one of the more intimate theatrical venues in the Nashville area, but they’ve proven, especially in recent productions, that they can definitely make the most of the space. How have you dealt with the challenges of the smaller stage for Sordid Lives?

ERIN GRACE BAILEY: I’ve been lucky to have been able to perform on the 615 stage a few times, so knowing what it feels like to be up there was helpful in knowing how to block the scenes. One of the biggest challenges was how to set up all of the different scenes without a ton of furniture. There’s not a lot of room backstage, and this is a cast of 11 people, so storing stuff in the back was not an option. 

I fell in love with found object design when studying directing abroad in Prague, so that’s the concept we went with. Found object is when you don’t buy anything new. Everything is recycled and ideally “found” instead of purchased. It’s perfect for a Southern play. We sort of set the whole thing in the bar but move the furniture pieces around to create the belief of other spaces. The whole design concept has a very Cracker Barrel feel to it (or I guess former Cracker Barrel since they’ve sadly been going modern) with props hanging on the wall, and the audience gets to go on stage and look at it all during intermission and pre-show. I’m hoping our audiences will really enjoy not just our actors, but the design too.

JHPENTERTAINMENT: After seeing Playhouse 615’s Sordid Lives, what do you hope audiences take with them?

ERIN GRACE BAILEY: There are absolutely some heavy topics discussed in this play. Many of our audience members probably will have been through some of these things themselves, but I want the audience to take away that, in spite of it all, life is beautiful, and it’s full of joyful little moments even in its tragedy and complication. I want the audience to remember that love is love is love, and I want them to feel the love that this room of people [the cast] who didn’t know each other four weeks ago now have for each other. Most of all though, I want them to leave with a smile on their face.

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Playhouse 615’s Sordid Lives opens Friday, July 26 and runs weekends through August 11. Performances are 7:30p.m. on Fridays and Saturdays, with a 2:30p.m. matinee Sundays. Playhouse 615 is located at 11920 Lebanon Road, Mt. Juliet, TN 27112. Tickets for Sordid Lives are $20 or $17 for military and seniors and can be purchased online (CLICK HERE), by phone (615.319.7031), by emailing the Box Office (playhouse615@yahoo.com) or in person beginning and hour before each performance.

Up next at Playhouse 615 is the Middle Tennessee premiere of Cormac McCarthy’s The Sunset Limited directed by Anastasia Zavaro and starring Elliott Robinson and Bowd Beal, presented by The Other Me Theatre Company, onstage August 15-18. CLICK HERE for tickets. For more on the show and to keep up with Playhouse 615, check out their website or follow them on Facebook.

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

Rapid Fire Q&A with Stars of ‘The Beauty Queen of Leenane’; onstage at Playhouse 615 beginning June 21

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Having premiered in Ireland in 1996, playwright Martin McDonagh’s The Beauty Queen of Leenane quickly made its way to The West End, then in 1998, to Broadway where it received six Tony nominations, taking home four. On Friday, June 21, The Beauty Queen of Leenane comes to Playhouse 615 with performances through Sunday, July 7.

Directed by Playhouse 615’s Artistic Director, Joel Meriwether, The Beauty Queen of Leenane stars Cat Eberwine, KC Bragg, Andrew Gately and Lindsey Patrick-Wright. Earlier this week as the cast and crew were preparing for their Friday, June 21 opening night, I had the opportunity to pose a few questions to Eberwine and Wright for the latest edition of my recurring Rapid Fire Q&A interview feature. What follows are those conversations.

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RAPID FIRE Q&A WITH CAST MEMBERS OF PLAYHOUSE 615’s THE BEAUTY QUEEN OF LEENANE

RAPID FIRE WITH THE BEAUTY QUEEN OF LEENANE’s MAG, CAT EBERWINE

JHPENTERTAINMENT: For those unfamiliar, what’s the basic plot of The Beauty Queen of Leenane?

CAT EBERWINE: At it’s core, I believe it’s about desperation, fear, and longing and the absolute driving need to feel loved and the fucked up ways people choose to show that love. It touches on mental illness, dysfunctional family dynamics, aging, abuse, and the “unnecessary neediness of a parent upon a child and the harm we inflict upon one another when our dreams don’t come to fruition”. We follow members of two Irish family’s who have lived in the same small town of Leenane all their lives, with very brief moments of escape, but they always return. When we meet them, all but one is desperate to get away.  It could appear on its surface to be a “day in the life” play, until it turns into an episode of Creepshow or Twilight Zone.

JHPENTERTAINMENT: How familiar were you with the work prior to auditioning?

CAT EBERWINE: Not at ahl, as dey say. I was just finishing up with Nunsense and didn’t have any other projects lined up, but I had missed the initial set of auditions due to opening weekend. Joel graciously loaned me the script the night before callbacks and I finished reading it about an hour before they started. I just knew enough from the text to get an idea of who Mag and Maureen were…and I can’t resist the chance to do an Irish accent!

JHPENTERTAINMENT: You play Mag, Maureen’s manipulative aging mother. Recently, you offered a sneak peak via social media of your physical transformation in the role. What can you tell me about how you and director, Joel Meriwether decided on Mag’s look AND how does the drastic change in your physical appearance enhance your ability to engulf yourself in the role?

CAT EBERWINE: The age of Mag, being almost twenty years older than I am, and Playhouse 615 being such an intimate theatre, in addition to the fact that Joel wanted the set to be placed really far downstage, made me a little hesitant to accept the role. I didn’t want to be a caricature of a old woman, so we had a long talk about it and when I felt confident he would give me the freedom to “do it right”, I accepted the role, even though I was not thinking I had been seriously considered for Mag until he called and offered it to me. The first thing I found was Mag’s voice, which is lower and slightly more gravely than my typical speaking voice, with a rural, Galway County Irish accent, with a few words she likes to pronounce incorrectly just to drive Maureen nuts. The rest Joel graciously let me design, which started, believe it or not, with my favorite pair of work boots, which, at this point, are practically falling off my feet and still spattered with the mud from when I shoveled out my driveway. For some reason, those boots helped me become Mag before anything else. And, as I love wigs, I found a grey one in a style I am very fond of, and once I put it on, it was a huge help. I found a picture of a woman online when I Googled “70 year old Irish woman on a farm” and this became the inspiration for Mag’s braids. I then started adding a few different costume pieces, but, even before doing ANY old age makeup, I got a white contact which I put in one eye. I had ordered it thinking it would be cloudy and not completely white, but it just creeped everyone out so much, we knew it was perfect. But the cherry on the cake of Mag, finally came when someone brought in a beautifully weathered driftwood cane…then she really came to life…banging it on the ground to emphasize her point, leaning on it to indicate how bored she is with the conversation, or using it to reach the cookie tin on the top of the cupboard that Maureen has put out of her reach just to be mean. The actual “old age” makeup will be minimal and I’m still trying to land on a design I like, but it really is the voice, the boots, and the cane if I had to narrow it down. However, when it comes down to it, and to answer the last part of your question, I don’t need a thing to engulf myself in Mag…she’s pretty much just me in a cranky foul mood.

JHPENTERTAINMENT: In addition to your primary co-star, Lindsey Patrick-Wright, who I’ll be chatting with next, you share scenes with Andrew Gately as Ray. What do you admire most about Andrew’s portrayal as Ray?

CAT EBERWINE: Oh, Andrew is wonderful and I am so excited to be on stage with him after seeing and costuming him in Lakewood‘s Christmas Carol as Fred. He has such a great voice and presence on stage and he is so “easy” to be on stage with…as are all the actors in this play…it’s been a joy rehearsing. He’s got great timing and understanding of the character, we never even talked about anything, just started reading the scene and it took off. His character is considered the “comic relief”, and a lesser actor could very easily have taken it in a direction that didn’t serve the overall mood of the play, but his scenes allow the audience to breathe a bit and chuckle, but still keeps you in the world of the production. And he’s got one of the best final exits ever, makes me “LOL out loud” every night.

JHPENTERTAINMENT: Mag seems villainous in her controlling nature. As cynical as I am, I still believe there’s good in everyone. What’s Mag’s best character trait?

CAT EBERWINE: I’m glad you said she “seems” villainous, because the way McDonagh writes this play, it can be difficult to determine at times. Maureen’s stay in the mental hospital is an undetermined time prior to the play, but it’s clearly stated that she remains an out-patient as long as she’s in Mag’s care, but we don’t exactly know why, but we know that it’s not just “nerves”. Does she puts up with Maureen’s abuse out of a desperate fear of being alone, as it is established that she CAN care for herself if she has to?  I’m convinced that, in her way, she loves her daughter, and there is something more behind her being manipulative in order to keep Maureen close, I think she’s scared FOR her…not scared OF her.  Good or bad, her “strongest” character trait I would say is “determination”. She is so determined to keep Maureen at home, whether it’s because she REALLY is just so desperately lonely or “afeared’ of having to care for herself, or is it because of what she knows about Maureen’s “condition” and knows that it’s really Maureen who can’t survive alone in the big, bad world.

RAPID FIRE WITH THE BEAUTY QUEEN OF LEENANE’s MAUREEN, LINDSEY PATRICK-WRIGHT

JHPENTERTAINMENT: To begin, I must admit, I only have a vague familiarity with The Beauty Queen of Leenane, remembering it won four of the six Tony awards for which it was nominated, including Marie Mullen taking home the Best Leading Actress statuette for her portrayal as Maureen. Now you’re taking on that same role. Who is Maureen to you?

LINDSEY PATRICK-WRIGHT: This process has been so interesting, because I have found myself being very overprotective of Maureen. She is so complicated and so raw at times, but I admit I fell in love with her when I saw this play performed 20ish years ago in Memphis. Maureen is the embodiment of the power of hope – at the end of the day, it can either ensure survival or destruction and that dichotomy seems to drive Maureen. 

JHPENTERTAINMENT: Playhouse 615’s own Joel Meriwether is directing. What is it about Joel’s style as a director that lends perfectly to helming this particular piece?

LINDSEY PATRICK-WRIGHT: Joel has made this an incredibly collaborative process. Starting with building a cast of actors ready to show up and explore. We spent a lot of time on table work to gain an understanding of these four characters and what makes them tick and connect. For this show, Joel is working with an Assistant Director Preston Alexander Raymer who also embraced the collaborative spirit. The show can be extremely heavy at times, so they would encourage us to play (they would say “let’s get weird!”) to find the beautifully-written (and needed) levity in the script. That sense of play and adventure has allowed us to find the musicality of the changing tones within the scenes.

JHPENTERTAINMENT: The subject matter seems to have hints of classics like The Glass Menagerie or even Flannery O’Conner’s A Good Man is Hard to Find. Do you think that’s a fair assessment AND…what sets it apart and makes it its own? 

LINDSEY PATRICK-WRIGHT: Absolutely! I have also compared it to Sam Shepard plays since we have a less-than-functional family, long held secrets, and a claustrophobic setting, similar to his American plays. But this play feels even more isolated, likely due to the Irish setting – another thing Joel allowed us to explore in-depth- including having a taste-testing one evening with all the very Irish food and drink talked about in the show. The setting, set, and stage business are as much characters in the show as Mag and Maureen.

JHPENTERTAINMENT: Among your co-stars is KC Bragg as Maureen’s potential new suitor, Pato. Are you enjoying KC as a scene partner?

LINDSEY PATRICK-WRIGHT: KC’s Pato is the heart of this show. He requires a sincere and delicate portrayal to make him believable and KC absolutely nails that. This is the first time I have worked with KC and what a professional he is! KC is a generous scene partner and flexible with changes that some of our “getting weird” moments uncovered. It’s been an honor to work with him and I hope it’s not the last time!

JHPENTERTAINMENT: What do you hope audiences come away remembering most about having seen The Beauty Queen of Leenane?

LINDSEY PATRICK-WRIGHT: I mentioned seeing this show in Memphis years ago and what I remember most is how it made me FEEL. I want people to leave feeling anything but neutral about what they just watched. At the end of the show, I want them to need to shake their head to bring themselves back to here and now because they were immersed for a couple of hours into a small cottage in the Irish countryside. 

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The Beauty Queen of Leenane opens Friday, June 21 and continues weekends through Sunday, July 7 at Playhouse 615 (11920 Lebanon Rd, Mt. Juliet, TN). Evening performances are Friday and Saturday at 7:30p.m., with Sunday matinees at 2:30p.m. General Admission tickets are $20, with special discounted $17 tickets available for Seniors and Military. CLICK HERE to purchase tickets. You can also reserve your spot by calling the box office at 615.319.7031, or you can purchase tickets (if available) at the door, day of show, an hour before curtain.

Following The Beauty Queen of Leenane, Playhouse 615 will present Del Shores’ Sordid Lives, a hysterical “black comedy about white trash’ as directed by Erin Grace-Bailey from Friday, July 26 thru Sunday, August 11.  For more on the show and to keep up with Playhouse 615, check out their website or follow them on Facebook.

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

Rapid Fire 20Q with ‘Hairspray’ National Tour Cast: Coming to Nashville’s TPAC June 11 thru 16

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Based on John Waters’ 1988 cult classic film, Hairspray made its way to the musical stage in 2002 with music by Marc Shaiman and lyrics by Shaiman and Scott Wittman, book by Mark O’Donnell and Thomas Meehan. The original Broadway production was directed by Jack O’Brien with choreography by Jerry Mitchell. Hairspray set out on its first national tour in 2003, playing Nashville’s TPAC near the end of that initial tour back in 2006. In 2021, O’Brien and Mitchell came together once again to helm the show’s second-ever US tour. Now it its third year, Hairspray once again returns to TPAC’s Jackson Hall with shows Tuesday, June 11 through Sunday, June 16.

WIth just days before the show returns to Music City, I recently had the opportunity to chat with members of the company for my latest Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH CAST OF HAIRSPRAY NATIONAL TOUR

RAPID FIRE WITH HAIRSPRAY’s LINK LARKIN, SKYLER SHIELDS

JHPENTERTAINMENT: Who is Link Larkin to you?

SKYLER SHIELDS: Link Larkin is a golden retriever. To me, Link is the perfect balance of boy next door meets Danny Zuko. I think he’s the shiny “It” boy, but he’s a bit aloof which is what makes him so endearing when he meets Tracy. He’s never met someone quite like her and she pushes the boundaries and norms that he’s never had the courage to question.

JHPENTERTAINMENT: A quick perusal of your socials seems to indicate that you and your Hairspray costar, Caroline Eiseman, who plays Tracy Turnblad, get along off-stage as well as on. What’s your favorite thing about your work wife’s performance as Tracy?

SKYLER SHIELDS: Working with Caroline has been the biggest gift and blessing. It’s so empowering to be able to go on stage and know that someone truly has your back. We have laughed, cried, and accomplished so many goals this year, it’s been incredible having a partner like Caroline by my side. One of my favorite things we do is when, during Without Love while Seaweed is breaking Penny out of her house, we are supposed to be frozen at the jail cell, and we just talk and talk and pretend like the audience can’t see or hear us. It’s just a great reminder to me how lucky I am to be able to share this whole experience, let alone one of the best songs in musical theater, with one of my best friends.

JHPENTERTAINMENT: A couple months ago you celebrated your one-year anniversary with the show, having joined the company near the end of the latest tour’s second season. In that time, have you discovered aspects of Link that you didn’t really explore in your performance early on?

SKYLER SHIELDS: It’s been fun to play into different aspects of the role depending on how I’m feeling that day. Link has qualities of aloofness and being perhaps a little dull but also could be played as entitled, cocky, and overly confident. I’ve enjoyed stepping into these different sides of him all while trying to maintain a sense of likability and tenderness. I think one thing I learned from this experience over the year is truly to make Link a successful character, he has to be in service to Tracy’s story. Dramatically all the characters are in service of Tracy’s story and how they affect her life. If I approached every scene thinking about how funny I’m gonna be or how great my songs are the role would fall very flat. “The material is funny, you are not” is something our wonderful director Matt Lenz would often say. Trusting the incredible score and script we are given and being a vessel for the material has made embodying this character truly pivotal.

JHPENTERTAINMENT: Prior to being cast as Link, you spent some time at sea…as a cast member of Saturday Night Fever aboard Royal Caribbean cruise lines. What was the best part of your time with that show and life afloat?

SKYLER SHIELDS: Working with Royal Caribbean has been one of the craziest experiences of my life. I met some of the most amazing people from all over the world and performing such a fun show for over a year was wonderful. It was definitely tough being on the ship for so long but absolutely worth it. The best part by far was meeting some of my dearest friends from the UK and New Zealand.

JHPENTERTAINMENT: OK, I gotta ask…why is #gaylink not trending? But seriously, what does being a part of a show that shines light on equality and acceptance mean to you as an out gay actor?

SKYLER SHIELDS: I think at times I take for granted how lucky I am to have such an accepting family and a wonderful community around me. Being a part of a show that inspires its audiences to think deeper and embrace acceptance and love is why we do theater. Shows like Hairspray meant the world to me growing up and it’s been amazing being able to be a part of something that can bring that same joy to so many others while also spreading the narrative of acceptance, especially in the political climate we are in today.

RAPID FIRE WITH HAIRSPRAY’s LITTLE INEZ, KAILA SYMONE CROWDER 

JHPENTERTAINMENT: Can you describe Little Inez in FIVE words?

KAILA SYMONE CROWDER: I would describe a Little Inez as bold, optimistic, light, courageous, and resilient.

JHPENTERTAINMENT: I understand Hairspray is your first National Tour. How much fun are you having, not only being in the show, but bringing its message to audiences across the country?

KAILA SYMONE CROWDER: Every day is a new experience! I have found that Little Inez truly brings out something within me that is so powerful. It’s truly been a blessing to share with the world, the gift that God has given me.

JHPENTERTAINMENT: You’re from Monroe, North Carolina, right? For whatever reason, one of the only things I know about Monroe is that one of its most famous…or infamous…natives was ultra-conservative politician Jesse Helms. How excited are you to change that statistic as your career flourishes and YOU become Monroe’s most famous citizen?

KAILA SYMONE CROWDER: I come from a family of history. My grandfather, Roy Lee Crowder, was a civil rights activist leader, along with the amazing Robert F. Williams, who was also known for his courageous stance on Black people and their freedom (Negros with Guns). It does me great joy to implement the things that my grandfather and the women in my family (Rhonda Crowder, my mother and Revonda Crowder, my grandmother) have gone through. Now I can take it to another level to truly bring a light into how we can move forward as nation through the theatrical aspect.

JHPENTERTAINMENT: Speaking of your home state, Hairspray’s costume designer, William Ivy Long hails from Raleigh, North Caroline. He’s designed costumes for more than 60 Broadway show, having won the Tony for Hairspray in 2003. Do you have a favorite costume in the show, whether it be your’s or that of one of your co-stars?

KAILA SYMONE CROWDER: Absolutely, I actually have two favorite costumes. The first one is the multicolored polka-dotted dress that is shown during Run and Tell That, and the other is the gold and off-white finale dress that is shown during You Can’t Stop the Beat. Although these are my favorite outfits, each outfit reminds me of when I was a little girl and how my mom would dress me in colorful dresses with white lace socks and Keds, which is exactly what I wear in the beginning of the show.

JHPENTERTAINMENT: In Hairspray, you share scenes—and a storyline familial bond—with Deidre Lang and Josiah Rogers who play Little Inez’s Mother and Brother, Motormouth Maybelle and Seeweed J. Stubbs, respectively. Do you have a favorite moment that involves one or both of them?

KAILA SYMONE CROWDER: During Run and Tell That, when Seaweed, played by the amazing Josiah Rogers, does the handshake, that moment signifies our close brother and sister relationship throughout the show and how he’s rooting for his sister Little Inez because he understand the talent has continued to pass down through another generation. Alongside my mother Motormouth Maybelle, who is played by the amazing Deidre Lang – during the song I Know Where I’ve Been, there’s a particular moment where she grabs my hand and then eventually let’s go of it, so that I can walk my own path and continue to be the light through darkness. It’s as if she’s passing on the torch to another generation to change the world in a positive way. This also supports how powerful the bond of a mother and daughter can be.

RAPID FIRE WITH HAIRSPRAY’s VELMA VON TUSSLE, SARAH HAYES

JHPENTERTAINMENT: What can you tell me about Velma Von Tussle, the character you play in Hairspray’s current National Tour?

SARAH HAYES: There are some people who, as the world changes, walk forward with arms open wide, ready to embrace any and all changes the future holds. Then there are some people who struggle with change and have a hard time adjusting. Velma Von Tussle is someone who needs to be dragged kicking and screaming into the future! She is a woman who has worked very hard to get herself into a position of power as producer of The Corny Collins Show, which is especially impressive in 1960s Baltimore. And to top it all off, she’s made her daughter, Amber, the star of the show. So Velma is having a great day when the show starts! Then Tracy shows up ready to “eat some breakfast and change the world,” and it all goes wrong for Velma.

JHPENTERTAINMENT: I must admit I’m a Hairspray fan since the OG 1988 John Waters film, so I gotta ask…How excited are you to be playing a role that was first brought to life by Blondie lead singer, Debbie Harry and has since been played by everyone from Susan Anton and Belinda Carlisle to Michelle Pfeiffer and Kristin Chenoweth.

SARAH HAYES: It’s a little intimidating because those are some big yellow heels to fill, but excitement still wins out, because that’s a pretty cool list to be on! I feel like my entire Hairspray adventure has been a series of “pinch me” moments, and one of those moments happened in Tulsa, when I got to perform for and meet Linda Hart, the OG Broadway Velma! Absolutely surreal. I also love that I get to say I share a resume credit with Catwoman. Haha!

JHPENTERTAINMENT: In preparing to chat with you, I did a little internet sleuthing and discovered your theatre background is highlighted by several performances at Myers Dinner Theatre in Hillsboro, Indiana. I do love a sweet little dinner theatre! How has your background working with such a small, intimate company helped you adjust to your first-ever National Tour?

SARAH HAYES: I know I wouldn’t be on this tour without the opportunities I had at Myers. Jeremy Littlejohn was the Artistic Director during my time there, and he created this little artistic oasis in the middle of rural Indiana. He gave me roles that challenged me and helped me overcome insecurities and nerves I’d battled for years, which then helped me be more successful in future auditions, including my Hairspray callback in New York.

The audiences at Myers were pretty small but they were mighty…in fact, right before the Covid shutdowns, we were doing Run For Your Wife which was a cast of 8. There were 7 people in the audience the night before the theatre closed. We asked if they still wanted us to do the show. They enthusiastically told us yes and those 7 people made thunder that night! That was such a beautiful night for everyone involved and a reminder of how important theatre is, and how lucky I am to get to do it for a living right now.

I’m really grateful for the twists and turns my career has taken, including several years in my late 20s and early 30s when I wasn’t getting much acting work. It’s easier to take something for granted if you’ve never gone without it. I’ve been hungry for work, and will probably be hungry for work again. That makes me appreciate the work I do get so much more.

JHPENTERTAINMENT: Again, while doing my homework prior to our chat, I fell down the proverbial Velma Von Tussle internet rabbit hole where I saw that fabulous Velma has an entry on Villains Wiki!!! So, a two-part question…1) How much fun are you having playing Velma and 2) Why is she NOT a villain?

SARAH HAYES: 1) That’s hilarious! I didn’t even know that she was on Villains Wiki! I understand why though…she’s so brilliantly written, which makes her a blast to play. I’m a peacemaker by nature, and struggle to communicate when I’m upset. Velma has no problem saying (or screaming or cackling!) exactly what she’s thinking, so that’s part of the fun of it for me, getting to play someone so completely opposite of me. Plus, singing Miss Baltimore Crabs every night is a dream!

2) Velma is not a villain if you dig a little deeper and look at why she does and says the things she does. I don’t think her motivation is actually hate. It’s fear. Velma is a widow raising her daughter on her own, while working full time in a changing world. She’s scared of losing her power and the empire she’s built for herself and her daughter, and as we know, fear can make people say and do some pretty nasty things. One of the most beautiful messages of Hairspray is that no one is beyond redemption. If the world is truly going to change it has to mean that no one gets left behind and (spoiler alert) even Velma and Amber finally get on board and shake and shimmy it!

JHPENTERTAINMENT: I love that the original Broadway director Jack O’Brien and original choreographer Jerry Mitchell are at the helm of this tour. What does it mean to you and the cast that they’re behind this tour?

SARAH HAYES: It’s incredible. I think it speaks to what a special show Hairspray is, that the original director and choreographer still want to take care of Baltimore and all of its residents. I know that gives me motivation on even the toughest days to dig deeper and give each audience the best show I’m capable of every single time I step onstage.

RAPID FIRE WITH HAIRSPRAY’s PENNY PINGLETON, SCARLETT JACQUES

JHPENTERTAINMENT: What do we need to know about Penny Pingleton before seeing the current National Tour of Hairspray?

SCARLETT JACQUES: Although Penny may not be the brightest, she always has the best intentions. She loves nothing more than to follow around Tracy and encourage all her endeavours, being the most supportive best friend whilst only living in a fantasy life in terms of her own desire to feel wanted. Throughout the story, Penny starts to find herself when she meets her love interest, Seaweed J. Stubbs, and is finally being noticed in a way she never expected. Her

character arc is one that is so beautiful and admirable, as she goes from being content following her best friend, to falling in love and gaining the confidence to stand up to her strict, racist mother Prudy.
JHPENTERTAINMENT: How does the role of Penny Pingleton resonate with you personally?
SCARLETT JACQUES: Penny Pingleton is the most wonderful character, and I truly am so lucky to spend every day stepping into the shoes of such a fun-loving, goofy and caring person. I have so much love for her, and this role will always have a special place in my heart. She has so many amazing qualities that I admire, and it makes me so happy that I get to put a smile on so many faces.

JHPENTERTAINMENT: Within the storyline, Edna is reticent to encourage Tracy to pursue her dreams of being a featured dancer on The Corny Collins Show, but Penny, being her loyal friend, encourages her to go after what she wants in life. In your own life, has there been someone who’s reminded you that You Can’t Stop the Beat?

SCARLETT JACQUES: Being from the small country of New Zealand, moving to the USA was a huge decision and one that I couldn’t do without my amazing support system that has continued to believe in me and my abilities. There are so many people I could talk about forever, but specifically I’d like to talk about Hamish Mouat. He is one of the top directors/choreographers in NZ. We first worked together when I was only 8 years old. He went on to provide me with many opportunities to grow as a performer. I have been involved in 14 productions with him. Earlier this year, Hairspray performed in Tulsa, Oklahoma, and as Hamish was travelling to the states to perform, he decided to stop in Tulsa just to see me perform in my first national tour and professional theatre job in the USA.

JHPENTERTAINMENT: Why do you think Without Love is such an important moment in the show?

SCARLETT JACQUES: Without Love follows the blossoming of relationships between Tracy and Link and Seaweed and Penny. In both circumstances, they are found in tough situations. As both couples work together to overcome these situations, the audience gets to witness innocent, young love forming between people who were not considered appropriate or fully acceptable to be together at the time. I love how Hairspray allows audiences to see the importance of love and how it has the power to go against what is expected of us, which is something that is definitely still valid in today’s society.

With the ongoing movement of the LGBTQ+ community feeling more comfortable and safer being out and honest about who they are publicly, I think Hairspray as a whole, but specifically Without Love, definitely still holds a huge amount of power. It is showing the whole audience, but particularly the younger generations, that love is a strong force, and no one should have to feel pressured to follow what anyone else says. Unfortunately, we still have a way to go in terms of accepting and loving people unconditionally.

JHPENTERTAINMENT: What do you hope audiences take with them after having seen Hairspray?

SCARLETT JACQUES: I hope that audiences take with them the knowledge of how far we have come as a society, but how there is still more we need to change. Being based in the ’60s, Hairspray expresses the important message about the racial inequality and segregation that was present at the time, as well as size-discrimination and bullying others simply due to their appearance.

A lot of the younger characters, Penny and Tracy included, are just wanting to have fun dancing together, and don’t understand why something that is seemingly so simple and easy, could be so unacceptable and difficult to achieve. It helps the audience to understand that there is this beautiful innocence that children have, and a lot of the time it comes down to nurture over nature. Tracy is blessed with wonderful parents, Edna and Wilbur Turnblad, who teach her to lead with kindness and love, which is something truly important that she shares with the other characters in the show and the audience.

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Closing out their 2023/2024 Broadway at TPAC season, Hairspray plays Jackson Hall with shows Tuesday, June 11-Sunday, June 16. Performances time are as follows: Tuesday thru Thursday at 7:30p.m., Friday and Saturday evening performances at 8p.m., Saturday matinee at 2p.m. and Sunday matinee and early evening performances at 1p.m. and 6:30p.m. Tickets range in price from $50.90 to $164.50. CLICK HERE for Tickets.

Not in Nashville? Hairspray continues it’s current tour with a stop in Dallas June 18-30. CLICK HERE for tickets. You can also follow Hairspray on X, Facebook, Instagram, YouTube and TikTok.

Next up at TPAC, Mark Morris Dance Group presents The Look of Love: An Evening of Dance to the music of Burt Bacharach, onstage at TPAC’s James K. Polk Theatre June 28-29 CLICK HERE for tickets. With numerous special engagements and performances filling their summer calendar, TPAC’s 2024/2025 Broadway at TPAC season kicks off September 10 thru 15 with the Music City debut performance of Broadway’s Clue: A New Musical. CLICK HERE for tickets. For further details on these and more entertainment headed to TPAC, CLICK HERE or follow TPAC on Instagram, X, YouTube and Facebook.

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

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

Rapid Fire Q&A with Disney’s Frozen National Tour’s Olaf and Kristoff, Broadway stars Jeremy Davis and Nicholas Edwards; at TPAC May 7 thru May 18

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Since the 2013 release of Disney’s Frozen, Anna, Elsa, Kristoff, Olaf and the rest of the residents of Arendelle have become an undeniable part of a world-wide pop culture phenomenon. The box-office-breaking original prompted a film sequel (with two more film entries coming). There’s been a televised holiday special, a line of character costumes, hundreds of toys, books and board games, video games, even a Frozen-themed Disney on Ice…heck, you name it and it probably exists in the Frozen universe. Fans just won’t Let it Go! Of all the Frozen tie-ins, Frozen: The Broadway Musical has proven just as beloved as the original film. Frozen debuted on Broadway in March 2018 and enjoyed a popular run until March 2020 due to the pandemic. Midway through the Broadway run, a North American National Tour and several international tours began. Following a brief hiatus in 2020, the US National Tour began again in September 2021. Earlier this year, the US tour celebrated its 1000th performance.

On May 7, For the First Time in Forever, Music City will get the chance to experience Frozen: The Broadway Musical when the National Tour descends on TPAC’s Jackson Hall for performances through May 18. For the latest installment of my recurring Rapid Fire interview feature, in advance of Frozen: The Broadway Musical’s Nashville tour stop, I recently had the chance to chat with two of the show’s stars, Jeremy Davis and Nicholas Edwards, who play Olaf and Kristoff, respectively, What follows are those conversations.

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RAPID FIRE Q&A WITH DISNEY’s FROZEN NATIONAL TOUR’s JEREMY DAVIS and NICHOLAS EDWARDS

RAPID FIRE WITH FROZEN’s OLAF, JEREMY DAVIS

JHPENTERTAINMENT: A quick peek at your show bio reveals you’ve been part of Frozen since the show was workshopped prior to its Broadway debut. Then you were initially part of the Broadway ensemble and understudy for Olaf. When did you first take the stage as Olaf and what do you remember most about that night?

JEREMY DAVIS: I first went on about two months after we opened. It was planned, so there was a lot of rehearsal and build-up to it. For weeks, the whole company worked to help me get ready. When the day finally came, I was on stage doing my first scene, and I looked offstage to find the whole company packed in the wings watching me. It was so galvanizing to feel such immense support, and it made my debut a very special experience.

JHPENTERTAINMENT: For those who’ve not seen the Broadway adaptation, rather than have you in a giant Olaf costume, Olaf is presented as a puppet with you dressed in winter wear controlling his movement and providing his voice. I understand you’d never worked with puppetry prior to taking on this role. What was your rehearsal period like prior to taking on the role?

JERMEY DAVIS: Since I started as an understudy, I had the advantage of watching and learning from Greg Hildreth, the original Olaf in the Broadway production. Greg is a true artist and comedian, and I was very lucky to be able to have him as a role model. And he was so good with the puppet! The first time I worked with Olaf in rehearsal, I couldn’t believe how hard it was. Greg made it look so easy, but I felt like I was trying to push a pile of rocks around. But like everything else, the more I did it, the easier it got. After a couple of weeks of practice, it started to feel like the puppet and I were dancing. Now, after all this time, we waltz around the stage like we were meant to be together.

JHPENTERTAINMENT: Frozen wasn’t your first Broadway show… Heck, that count’s up to 10 Broadway shows if my research serves me right, 2005’s Dirty Rotten Scoundrels marking your Broadway debut. What do you remember most about taking to the Broadway stage for the very first time?

JERMEY DAVIS: The thing I remember most from that night was the curtain call. I went out to take my bow, and as I looked out over the applauding audience, I was thrown back in time to my childhood bedroom where I was having a daydream that one day I would be a Broadway actor. I started crying as I took my bow for Scoundrels because I realized that a childhood dream had come true.

Jeremy Davis as Olaf (photo by Matthew Murphy/courtesy frozenthemusical.com)

JHPENTERTAINMENT: OK, I have to admit something. I’ve never seen Frozen, Frozen II, or even the made-for-tv holiday special, Olaf’s Frozen Adventure! I KNOW, I KNOW!!! But what can I say? I don’t have kids and my nieces were all grown with their own kids by the time the movies came out. That said, I’ve not been living under a rock, so of course I have soaked up some knowledge of the characters and basics of the storyline. All that to ask…what’s it like being part of such an iconic pop culture phenomenon?

JERMEY DAVIS: First of all, WATCH FROZEN! It’s a great film, and it’s not just for kids. I’m a full grown adult (allegedly), and I love it!

As for what it’s like to be a part of this amazing phenomenon, it’s awesome! Every night, I walk out on stage to a crowd that’s already in love with Olaf, and it’s an amazing feeling to be at the center of all that love. It makes the job so easy and fun!

JHPENTERTAINMENT: If you could incorporate one aspect of Olaf’s personality or ideology, what would it be?

JERMEY DAVIS: The thing I love most about Olaf is his perspective on the world. He sees everything that happens, every moment, as an opportunity for joy. He meets a new person, and they’re his best friend. He walks into a new place, and he sees it as a theme park. He falls to pieces, and he rolls all his parts on the ground in glee. After all this time playing Olaf, his outlook has started to become part of my real life perspective, and I can’t really put into words how much better it’s made my life to look at the world in that way.

RAPID FIRE Q&A WITH FROZEN’s KRISTOFF, NICHOLAS EDWARDS

JHPENTERTAINMENT: I admitted when I chatted with your Frozen co-star, Jeremy Davis earlier that I’ve never seen any of the Frozen universe of movies, tv specials or short films. So, for the uninitiated, who is Kristoff and how much fun are you having playing him?

NICHOLAS EDWARDS: Kristoff is a local Arendellian ice harvester mountain man who alongside his best friend Sven (who happens to be a reindeer), gets swept up in this majestic quest to help princess Anna climb the North Mountain and save Arendelle from the eternal winter brought on by the ice queen Elsa! I am having the time of my life! I get to help save Arendelle 8x a week!

JHPENTERTAINMENT: For the stage version, Kristoff’s role has been amped up a bit, including being featured in a few new musical numbers. Do you have a favorite musical moment in the show, whether it’s one you’re featured in, or one you just enjoy from the wings?

NICHOLAS EDWARDS: I mean Let it Go is truly one of the most magical theatrical moments in a musical ever, but I really love the two sister’s duet I Can’t Lose You. It’s a new song written for the tour and it really helps flesh out the relationship between the two sisters, and of course the song itself is just thrilling! The vocals are insane!

JHPENTERTAINMENT: Like Jeremy you also come to the tour after having appeared in the Broadway production. With a National Tour, you’re performing on a different stage each week. To that end, I’m curious how much rehearsal or run-though you all get in each city, or do you simply adapt to each venue as you go?

NICHOLAS EDWARDS: Each city we do a sound check and quick spacing rehearsal that lasts around 3 hours the day of the first show. Outside of that we do a few lift and fight calls as a check in throughout the week, but yes- we adapt and stay on our toes as learn the ins and outs of each venue. Safety first!

Nicholas Edwards as Kristoff @nickedwardsnyc Instagram

JHPENTERTAINMENT: Between your time with Frozen on Broadway and the current National Tour, you also appeared on Broadway in & Juliet as Lord Capulet and Sly. Have your found any similarities between these characters?

NICHOLAS EDWARDS: Definitely not! Lord Capulet is a powerful father figure who sentences his daughter to life in a nunnery- Kristoff would never do that!

JHPENTERTAINMENT: I like to end my interviews by asking a variation of the following…What do you hope audiences come away remembering long after seeing Frozen?

NICHOLAS EDWARDS: A lot of families who come to see Disney shows are experiencing their first Broadway musical- I can only hope that this sparks something inside them to continue to want to come back and experience more of the magic that live theatre brings to audiences.

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Disney’s Frozen: The Broadway Musical comes to TPAC’s Jackson Hall with the following performance schedule: Tuesday-Sunday, May 7-12 and Tuesday thru Saturday, May 14-18. Tuesday-Saturday evening performances begin at 7:30p.m. with Saturday matinee’s at 2p.m. and Sunday performances at 1p.m. and 6:30 p.m. Tickets range in price from $53 to $198. CLICK HERE to purchase tickets or for more information. Follow Frozen on Facebook, YouTube, Instagram and TikTok. Or check out their official Frozen On Tour Site.

Not in Nashville? Not to worry. As the tour continues, Frozen: The Broadway Musical is headed to Majestic Theatre in San Antonio, TX May 22-June 2, Austin, TX’s Bass Concert Hall at University of Texas at APAC June 5-16, Buell Theatre in Denver, CO June 19-July 3, Vancouver, BC’s Queen Elizabeth Theatre July 9-July 21, First Interstate Center for the Arts in Spokane, WA July 24-August 4, Boise, ID’s Morrison Center for the Performing Arts August 7-18 and San Jose Center for the Performing Arts in San Jose, CA August 21-September 1 with more dates expected to be added soon as the tour continues.

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. In the meantime, #GoSeeTheShow!

Rapid Fire 20Q with cast of ‘YES! The Musical’; Based on popular reality series ’Say Yes to the Dress’, new musical premieres in Nashville, April 26

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The cast of ‘YES!’ (photos by MA2LA/courtesy ‘YES! The Musical’)

A few years ago major media outlets reported the news…Nashville, Tennessee is the new official unofficial Bachelorette destination in the country. That’s right, more than Vegas, New York and Miami, it seems future brides and their entourage of woo girls discovered the fun to be had in Music City. With that statistic in mind, premiering a new musical comedy combining the two elements Nashville is now best known for makes perfect sense. To that end, YES! THE MUSICAL will be premiering in Music City at Dirty Little Secret , a popular nightlife destination inside the Dream Hotel (210 Printers Alley, Nashville, TN 37201) with shows each Thursday thru Saturday beginning April 26 and continuing through July 13.

Drawing inspiration from Say Yes to the Dress, the long-running (335 episodes and counting) bridal reality series in which future married ladies bring their Mom’s and gal pals along for the adventure of picking out the perfect wedding gown, YES! THE MUSICAL co-created by Joel Waggoner (cast member of Broadway’s Be More Chill and School of Rock) and features book and lyrics by Blaine Hopkins (co-producer of Say Yes to the Dress: Atlanta, A Wedding Story and more), music and lyrics by Garrett Kotecki (singer/songwriter who’s credits include Surf’s Up from Disney‘s Teen Beach Movie), and direction and choreography by Shea Sullivan (Pageant: The Musical,Last of the Red Hot Mamas).

YES! THE MUSICAL features Bradley Gale as Mister Jimmy, the bridal gown expert, Maya Kaempf as Ashley, the bride-to-be, Erin McCracken as mother of the bride and Emma Teixeira as the bride’s bestie. As the cast put the finishing touches on the show in preparation of their Friday, April 26 opening night, I recently had the opportunity to chat with them for my latest Rapid Fire 20Q. So check out those conversations, then #GoSeeTheShow!

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RAPID FIRE 20 Q WITH THE CAST OF YES! THE MUSICAL

RAPID FIRE WITH YES! THE MUSICAL’s MISTER JIMMY, BRADLEY GALE

JHPENTERTAINMENT: First things first. YES! The Musical isn’t about a certain 70s rock band, but instead, draws its title and inspiration from TLC’s uber-popular, long-running bridal reality series, Say Yes to the Dress. How familiar were you with the source material prior to auditioning for the show?

BRADLEY GALE: Are you kidding me?! Beyond familiar! I used to beg my friends who were recently engaged to apply for the show!

JHPENTERTAINMENT: In YES!, you play Mister Jimmy. Who is Mister Jimmy to you?

BRADLEY GALE:  Mister Jimmy is a lot like the person I always wanted to be comfortable being when I grew up: he’s confident, he’s funny, and he’s snarky but he has a heart. He’s a Sour Patch Kid if they were sassy, then sweet.

JHPENTERTAINMENT: Just between us, how much of Say Yes to the Dress’ Randy Finoli is there In Mister Jimmy?

BRADLEY GALE: Randy is incredibly stylish and also INCREDIBLY handsome…you should expect the same from Mister Jimmy.  

JHPENTERTAINMENT: Prior to saying YES!, you’ve enjoyed success on stage as part of the original company of Chicago’s The Book of Mormon, as well as numerous theatrical productions right here in Nashville, including roles in Beauty and the Beast, Avenue Q and Evita. How does being part of the World Premiere company of YES! compare?

BRADLEY GALE: There is really no way to compare the experiences however, Mister Jimmy is as fabulous as Lumiere in Beauty & the Beast, as sweaty as Princeton in Avenue Q, and I spend the exact opposite amount of time on stage as I did in Evita…. Also Mister Jimmy does NOT make out with Eva Peron.

JHPENTERTAINMENT: In addition to Mister Jimmy, you also portray other characters in the show. What can you tell me about them?

BRADLEY GALE: I don’t want to give any spoilers, But let’s just say you’ll see me play multiple characters…sometimes all at once.

RAPID FIRE WITH YES! THE MUSICAL’s ASHLEY, MAYA KAEMPF

JHPENTERTAINMENT: In YES!, you’re cast as Ashley, the bride who’s in search of that perfect wedding dress. What’s your favorite aspect of the character?

MAYA KAEMPF: Ashley begins the show being as people-pleasing as they come. She is often ignored, overshadowed, and overlooked, especially when it comes to the BIG personalities—Linda and Kayley—that are close to her in her life. However, what I love the most about Ashley is that she has this deep desire to take the reins in her own life, particularly at such a pivotal time in her life (approaching marriage). Without spoiling anything, I will say that Ashley’s journey is inspiring and encouraging to not only the people pleasing bride, but anyone who wishes to take charge of their own life. 

JHPENTERTAINMENT: Being part of the debut company of YES!, you basically get to set the tone of the character. How much freedom have the creators of the musical given you in developing Ashley as a character?

MAYA KAEMPF: While there have been a lot of changes to the show throughout the process (what with rewrites, cuts, new additions, etc.), what is incredible is that the essence of the characters and the message of the story has never wavered. While I was given liberties to make Ashley what I believe her to be, it was almost unnecessary because of of clarity and mutual understand between the performers and the creative team. 

JHPENTERTAINMENT: You recently won rave reviews for your portrayal of Jane Doe in Street Theatre Company’s Ride the Cyclone. In that show, you play a character who lost her head in a cyclone and therefore can’t remember who she is in the afterlife. A far cry from Ashley, but I’m wondering if you’ve found any similarities between the two?

MAYA KAEMPF: Now that is a thought that hasn’t occurred to me! I typically like to make each project completely separate in my mind, as each character is different from any other I played before. However, these two are very, very different. I think the common thread I see between Jane Doe and Ashley is that their stories both heavily center around identity and how important that is for a person to establish. 

JHPENTERTAINMENT: I understand part of your creative process in getting into your current character often involves creating a playlist of songs you think that character might listen to. What’s on Ashley’s playlist?

MAYA KAEMPF: My Ashley playlist is still underway… First though is Mirrorball by Taylor Swift. Ashley and Kayley were definitely at the Eras Tour together. 

JHPENTERTAINMENT: Award-winning Chadd McMillan serves as the costume designer for YES!, so I gotta know, is there a dress, wedding or otherwise that Chadd has created for the show that you would indeed say yes to?

MAYA KAEMPF: Yes, any and all. I would have an impossible time choosing. There is one dress (again, I am trying not to spoil!) at the end of the show that is perhaps the winner for me… I cannot stress how mindblowingly stunning and gorgeous (or purposefully tragic and hysterical) Chadd’s costumes are. The costume rack itself looks like a work of art. We are so lucky to have him and our wonderful wardrobe supervisor, Maryn Reader. You just have to come see these costumes yourself! 

RAPID FIRE WITH YES! THE MUSICAL’s LINDA, ERIN McCRACKEN

JHPENTERTAINMENT: You’re cast as Linda, mother of the bride in YES!. How would you describe her?

ERIN McCRACKEN: Linda is…crazy & hilarious. She has been waiting her daughters whole life for this wedding and it is finally her- Linda’s- time to shine!! 

JHPENTERTAINMENT: As Linda, you’re sharing time on stage with Maya Kaempf as your daughter. How much fun are you having working with Maya and the rest of the cast?

ERIN McCRACKEN: Maya is a powerhouse talent. She and Emma Teixeira—both Belmont University students (!!!)—were perfectly cast. Emma really takes the maid of honor role to another level…and they both sing their faces off!  Bradley Gale is a dream. He and I are holding it down as the seasoned actors in the show and I am so happy to be acting along side him! 

JHPENTERTAINMENT: So, is Linda a ‘Momzilla’?

ERIN McCRACKEN: 100%.  Absolutely. But you’ll have to come see the show to find out why! She really does mean well!

JHPENTERTAINMENT: A quick perusal of your social media revealed that you said Yes just over a year ago! That dress was gorgeous, by the way. So, I’m guessing if any of the cast can relate to the trials and tribulations of the subject at hand, it’s you. How many dresses did you look at before you found the perfect one?

ERIN McCRACKEN: Thank you! I wanted something both bridal & show-stopping! I did A LOT of looking online first. I‘m actually a pretty decisive person- I think I only tried on 6 dresses. Two dress shops, one day, done & done! 

JHPENTERTAINMENT: The show features all new music courtesy Blaine Hopkins, Garrett Kotecki and Blaine Hopkins. Do you have a favorite among the tunes, whether it’s one you perform, or that of another cast member?

ERIN McCRACKEN: Oh don’t make me pick! Okay, fine- Linda’s song, Perfectly Perfect. And then Brilliant Bridal Whisperer, the opening number. It’s fun and sassy and the perfect way to set up the show! 

RAPID FIRE WITH YES! THE MUSICAL’s KAYLEY, EMMA TEIXEIRA

JHPENTERTAINMENT: You’re playing Kayley, the maid of honor in YES!. How would you describe her to someone who’s about to meet her?

EMMA TEIXEIRA: Kayley is an unhinged maid of honor! She is fun and has absolutely zero filter! She a is a love child of Melissa McCarthy and Amy Schumer!

JHPENTERTAINMENT: The show’s being directed by Shea Sullivan, while Joel Waggoner serves as co-creator. In developing the character of Kayley, is there a particular piece of advice or guidance that Sea or Joel has offered to you that really stuck?

EMMA TEIXEIRA: Shae and Joel have been so fun to work with! When developing Kayley’s character it’s been fun to bounce ideas off of them! They have helped me ground Kayley and also find her contained unhinged moments. 

JHPENTERTAINMENT: In addition to the role of Kayley, you, like your fellow cast mates, also portray what we native Music City residents have not so lovingly dubbed Woo Girls. Not gonna lie, they’re frequently the bane of my existence when I venture downtown. That said, sell me on why I should learn to love and appreciate woo girls?

EMMA TEIXEIRA: You should love and appreciate the Woo Girls because we play a pretty hysterical version of our Nashville bridal party neighbors! My Woo Girl may or may not pass out in the bushes behind the Ryman- but….you’ll have to come see to find out!

JHPENTERTAINMENT: I have to admit, of the character shots photographed by the always brilliant MA2LA, your Kayley image is my favorite! Did you enjoy your photoshoot day, and would you wear Kayley’s fit IRL?

EMMA TEIXEIRA: Ah! The photo shoot was the most fun I’ve ever had doing a shoot!!! I love Chadd’s costume vision for Kayley and I think in the summer you could catch me in Kayley’s fierce tube top & shorts fit!

JHPENTERTAINMENT: Long after the YES! has been said, what do you think audiences will remember most about the show?

EMMA TEIXEIRA: I think audiences will remember the fun and heart of this show! Weddings can be such a stressful time and bringing life to the process through multi genre of songs, comedy, & dinosaurs?! What’s not to remember?

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The World Premiere engagement of YES! THE MUSICAL opens at Dirty Little Secret inside the Dream Hotel on Friday, April 26. Tickets range in price from $25 to $54. Ticket options are as follows: Bar Seating/$25, General Admission/$33, Preferential Admission/$42, Premium Table/$49 and Sofa/$54. For specifics on each ticket level, more information or to purchase tickets, CLICK HERE.

Be sure and check out YES! THE MUSICAL online and follow them on Facebook and Instagram.

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

Theatre Review: It’s Laughs On at The Keeton Dinner Theatre as their production of ‘Noises Off’ continues thru April 28; Special Show Only tickets available April 25

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The cast of The Keeton’s Noise Off (photos by Charles A. Clay III/courtesy The Keeton Dinner Theatre)

A hilarious comedic farce, Noises Off, on stage at The Keeton Dinner Theatre (108 Donelson Pike, Nashville, TN) thru Sunday, April 28, is offering a specially discounted show only performance Thursday, April 25 to usher in the final weekend of shows thru Sunday, April 28. More about that after my review.

The Keeton Theatre’s current offering gets its title from the backstage theatre direction equivalent to a movie soundstage’s “quiet on the set”. Noises Off employs the clever twist of going behind the scenes of a theatrical production to reveal the interpersonal relationships of the actors of a fictional play called Nothing On. Of course theatrical comedy farces predate the now-classic 70s sitcom Three’s Company by decades, but in my mind, and because that series was among my introductions to slapstick comedy, that’s what I think of whenever I see Noises Off.

Considering a two-story set that revolves between acts to reveal the antics backstage is integral to the show’s comedic appeal, I gotta admit, I had misgivings when I heard that The Keeton was including Noises Off in their current season. Misgivings because the venue itself doesn’t allow for a full two-story set. Of course when Noises Off was announced, The Keeton was under previous administrative and creative guidance and the current managing administrator, Donna Driver simply inherited the season. That said, upon arrival at The Keeton, I was pleasantly surprised with how set designer, Kevin Driver had adapted the usual two story set to a workable split-level, with only a few steps leading to the upstairs rooms.

Presented in three acts–all actually being various performances of the first act of Nothing On , the show within the show, the audience is first invited to a bird’s eye view of a late-night final-dress rehearsal of Nothing On.

The premise of the show within the show finds half a dozen characters unknowingly ending up at the same supposed vacant house for what they think will be a quiet, uneventful weekend. The rest of the plot of the show-within-the-show doesn’t really matter as the audience never gets to see what happens beyond the first act.

The Keeton’s Noises Off is co-directed by Aaron Gray and Caylin Maguire. Not sure why this show requires co-directors as it’s a pretty straight-forward comedy and much of the action is clearly laid out within the mishaps as written in the script. Nonetheless, it’ll be a cute story at their upcoming wedding as the co-directors are indeed engaged, as revealed in the directors’ note in the program.

During the first of two intermissions, crew rotates the ‘house’ to reveal the backstage wooden facade of the set, a visual hint of the next Act One’s behind-the-scenes action, in which the audience is privy to backstage antics as relationships between the actors begin to unravel during a matinee performance about a month into the show’s run. I love that during the set change intermission, the audience is handed out a second playbill, this one for Nothing On, which includes character headshots and bios of the fictional actors who make up the troupe performing Nothing On. Confused? You won’t be once you see the show.

Another intermission, and the set switches back to the front view of the house as we once again see the Act One action of Nothing On. It’s even more of a jumbled mess as the actors have had just about as much as they can stand of their fellow cast mates antics and ever-changing love-triangles and everything comes to a hilarious head during the final leg of the tour.

From British playwright Michael Frayn, the show was originally mounted in the early 80s (so, yes, my earlier Three’s Company comparison actually tracks). The show’s 1984 Broadway debut garnered four Tony-nominations. Its 2001 revival received two noms, star Katie Finneran taking home the award for Best Featured Actress. The show’s 2016 revival snagged another four nominations, including a mention for Best Revival.   

Of course wider audiences might be more familiar with the film adaptation. In 1992, a movie version of Noises Off was released. The star-studded romp featuring Carol Burnett, Michael Caine, Christopher Reeve, John Ritter (again, my Three’s Company reference makes even more sense), Marilu Henner and others.

For The Keeton’s presentation, co-directors Maguire and Gray have enlisted a great mix of newcomers and seasoned performers including  Jeremy James Carmichael, Ann Street-Kavanagh, Cameron Kendrick, Aleah Christian, Dylan Kim, Grace Gaddy, Nathan Basner, Emmerson Masenheimer and Kevin Waker.

Carmichael plays Nothing On’s director, Lloyd Dallas, and therefore the only cast member of Noises Off who doesn’t tackle a dual role in the show within a show. Carmichael’s Dallas is played with the splendid mix of a disenchanted task-master who’s also a bit of a lothario. To that latter end, and complicating things a bit, Lloyd is currently romancing his assistant stage manager, Poppy Norton-Taylor (enjoyably nervously played by Emmerson Masenheimer) as well as his ingenue, Brooke Ashton (vapidly, but vixenly personified by Grace Gaddy) while also throwing a occasional ego-stroking flirtatious bone to his aging star (Ann Street-Kavanagh). Kudos to the co-directors for the choice of having Carmichael’s Lloyd move from place to place among The Keeton’s Dinner Theatre patrons, especially during the first act, as it truly adds to the illusion that we’re sitting in on a dress rehearsal.

Oh, and speaking of the dinner aspect…prior to the show’s start, patrons are served salad and an entree of Chicken Alfredo with a side of Broccoli, Bread and Chocolate Cake. While the meal is enjoyable, as always The Keeton’s food is a tad on the bland side. I chalk that up to The Keeton being housed in same building as Donelson’s Fifty Forward facility at Donelson Station, a large majority of their patrons do skew slightly more mature, so the food is often prepared without the advantage of seasonings. Not to worry, a dash of pepper from the shaker and it’s a perfectly delicious meal. Heck, being Nashville’s only remaining dinner theatre, I’ll take it.

Now, back to the show…From the character’s initial entrance, Lloyd offers the first broken fourth wall as he stops the action on stage when one of the actors misses a prop cue. Carmichael’s Lloyd bellows from the audience and the fun begins. The actress Lloyd chastises for missing her cue is none other than Ann Street-Kavanagh, as middle-aged actress Dotty Otley, who’s playing the housekeeper in the show-within-a show. Street-Kavanagh is perfect for the role of Dotty as she’s never better than when she’s playing it a bit confused and daft. Like Lloyd, Dotty is also embroiled in a love triangle. All Dotty’s Nothing On character wants to do is put her feet up and enjoy the the telly. Oh, and did I mention she enjoys a snack of sardines? Worth noting, since a plate of the fishy snacks result in much of the show’s hilarity when left about, or taken off, cluing the other visitors in Nothing On that they’re not alone in the house.

Cameron Kendrick’s Frederick Felllows, an actor with a bit of a pious attitude, makes up the second-third of Dotty’s aforementioned love triangle. Given to nosebleeds and dropped trousers, Kendrick’s Freddy provides the audience with still more laughter.

Nathan Basner as Nothing On‘s overworked, frazzled Stage Manager, Tim Allgood proves quite entertaining as he holds his own in spite of the character’s limited stage time. A newcomer to The Keeton, Basner is a familiar face to patrons of nearby Pull-Tight Players. It’s enjoyable to see that instead of becoming completely flustered when the entire play goes awry, Basner’s Tim just seems to roll with the punches.

Another Keeton newcomer, Dylan Kim plays Garry Lejeune, the final third in Dotty’s love triangle. Kim’s physicality as Garry provides some of the show’s most slapstick moments.

Next is Aleah Christian as Belinda Blair, an actress who’s cheery disposition serves her well, as she becomes the company’s shoulder to lean on while simultaneously learning everyone’s secrets, including who’s romancing whom…and sharing them when it seems to serve her best. There’s something about Christian that reminded me of Leslie Ann Warren’s portrayal of Miss Scarlett in the movie Clue. Christian, if you’re reading this, Nashville Rep’s doing Clue in September, just saying.

Rounding out the cast is Kevin Walker as Selsdon Mowbray, a seasoned actor with a bit of a drinking problem whom director Lloyd has hired as a favor. Typically the role of Selsdon, as written, is played by a much older actor. The unfortunate eyebrow pencil lines attempting to show wrinkles a bit of a misstep. Nonetheless, Walker’s Selsdon, with overly dramatic deliver, provides many laughs thanks to him absent-mindedly missing his cue or is simply missing from set altogether, leading the remainder of the cast to search for him. The character’s penchant for booze also leads to more laughs. In an effort to keep him sober, his fellow cast mates find his hidden booze stashes, and re-hide them, then various members find them, take a nip or two, and get a bit tipsy in the process.

Filled with enough mistaken identities, pratfalls, near-misses, misplaced sardines and plenty slamming doors to keep the audience laughing for the duration, The Keeton‘s Noises Off wraps its run with shows now through Sunday, April 28. Performances Thursday-Saturday begin at 7p.m. with dinner seating begging at 6p.m. Friday and Saturday. Sunday’s final performance begins at 2p.m. with a 1p.m. lunch served. Dinner and Show tickets are $35/Adults, $25/Children. The Keeton does offer an entree upgrade of Salmon for $42/Adults or $32/Children. CLICK HERE for tickets.

The Keeton has announced a special SHOW ONLY TICKET DISCOUNT for Thursday, April 25. For tickets to Thursday’s Show Only performance, call the box office at 615.231.1231.

Next up at The Keeton is The Music Man, with performances June 14-30. CLICK HERE for tickets or more information.

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

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

 

 

Rapid Fire 20Q with cast members of Playhouse 615’s ‘Hedda Gabler’; final performances thru April 28

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While many smaller theatre companies tend to showcase audience-expected simple comedies and like, one thing I always enjoy about a Playhouse 615 season is the variety of shows presented by this intimate 60-seat theatre nestled in Mount Juliet, Tennessee. In recent years, they’ve mounted everything from classics like The Trip to Bountiful, The Glass Menagerie and Arsenic and Old Lace to more outlandish fare including No Sex, We’re Sixty, The Sugar Bean Sister and more. Having recently wrapped their run of The 39 Steps, Playhouse 615 continues their tradition of a non-traditional season with their current production, an adaptation of Henrik Ibsen’s Hedda Gabler.

Something else Playhouse 615 isn’t afraid to do…present a show for more than a quick two-week run. To that end, their production of Hedda Gabler debuted the first weekend of April and will conclude its run with shows Friday, April 26 through Sunday, April 28. Last week, with the cast midway through the run, I had a chance to chat with them for my latest Rapid Fire 20Q. Those conversations follow.

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RAPID FIRE 20Q WITH THE CAST OF PLAYHOUSE 615’S HEDDA GABLER

RAPID FIRE WITH HEDDA GABLER’s ERIN GRACE BAILEY

JHPENTERTAINMENT: You’re cast as the lead in Hedda Gabler. What can you tell me about the character? 

ERIN GRACE BAILEY: Hedda is a complicated person, and if anything, I think it makes her more realistic. I learn more about who she is and how she responds to the world around her every single time we perform the show. For this reason, I think she’s an exciting and dynamic character. Anyone who sees this show more than once isn’t going to see the same thing twice.

JHPENTERTAINMENT: In addition to starring in the show, you also adapted the play. Forgive the alliteration, but Hedda is pretty heady stuff. What drew you to adapting this work?

ERIN GRACE BAILEY: Well, it really wasn’t my intention to adapt it at first. What changed my mind was reading a bunch of adaptations over and over again. While there are some really awesome ones out there, none of them felt right to me. Hedda is a young woman who suffers from mental health issues and struggles with the gender roles put on to her by those around her. Oftentimes, there isn’t a lot of focus on these things though because Hedda is bright. She’s also a manipulator and makes some horribly harmful decisions that affects the other characters’ trajectories, but in the end, I’ve always been taught, in drama, if you can’t empathize with or care about the character, no matter how awful their decisions are, the tragedy isn’t tragic. I sort of feel like the best way to create empathy for a character is to have it written by someone who understands them, and while I haven’t been through everything Hedda has been through, I relate to her in many ways, especially being in a similar stage of life as her. When we were looking for adaptations of the play to perform, it was hard to find any adaptations written by women, especially contemporary adaptations (which was the route we already knew we wanted to go with it), so in the end, we thought creating our own adaptation would serve us better than trying to conform to someone else’s.

JHPENTERTAINMENT: When you began adapting it, was there always the idea that you’d also star in your own adapted version?

ERIN GRACE BAILEY: Yes, this project actually went a little bit backwards from the usual process. Instead of picking a script and then auditioning and casting it, this one went the other way around. Joel Meriwether, the artistic director at Playhouse, asked me to play Hedda about a year ago. After reviewing different versions of the script, none of them felt exactly right for us or like it focused on the message we wanted to convey, so I decided to adapt the script after that. 

JHPENTERTAINMENT: From what I know, the set is something a bit different for Playhouse 615 in that it not only extends from the usual stage, but also incorporates theater seating on stage. What went into that design decision?

ERIN GRACE BAILEY: I absolutely love performing in the round or on a thrust stage. I did it a lot in college, and I’ve missed it tremendously. I think it’s more intimate and realistic for the actors, and everyone in the audience gets a unique perspective of the story. So much of this particular play is about being stifled or feeling like you’re under someone’s microscope. We wanted the audience to sort of feel like they’re intruding on something, like they’re sitting in the Tesmans’ living room watching everything crumble. In the end, it also just ended up being a more practical decision as well because it gave us a little more space as actors to play.

JHPENTERTAINMENT: Henrik Ibsen’s original was written in Danish, so I have to ask. Unless you speak Danish, what version did you base your adaptation on?

ERIN GRACE BAILEY: Ha! No, I do not speak Danish. I drew inspiration from several different adaptations, but I primarily used a direct translation by Una Ellis-Fermor because I wanted to use a translation or adaptation that was written by a woman, which as I mentioned previously, was a surprisingly difficult find. Ironically, I happened upon Ellis-Fermor’s translation while on a trip to McKay’s when I wasn’t even looking for it, so whoever decided to sell their copy, it was meant to be!

RAPID FIRE WITH HEDDA GABLER’s WILL HENKE

JHPENTERTAINMENT: You’re playing Ejlert Lövborg in Playhouse 615’s Hedda Gabler. Who is Lövborg to you?     

WILL HENKE: Ejlert is a misunderstood man within his own mind and the world around him. There is a certain disconnect with the way his mind and body communicates and often sabotages one another and a most universal disconnect between his existence and his peers. His inability to conform and find meaning in his life is temporarily remedied by the company of Hedda Gabler, who may (or may not) be the missing piece to his inevitable demise.

JHPENTERTAINMENT: Is it just me, or do you hear ‘loverboy’ in the character’s name?

WILL HENKE: Funny that you say that! I always heard “I Love” in Ejlert. He’s Ibsen’s own unorthodox version of a hopeless romantic.

JHPENTERTAINMENT: How familiar were you with Hedda Gabler prior to auditioning for the role?

WILL HENKE: Without outing myself too much, I was completely unfamiliar with Hedda Gabler before the show. I’ve read A Doll’s House to fulfill my Ibsen quota, but most of my theatrical literature is devoted to contemporary pieces (see: Jackie Sibblies Drury, Brandon Jacob Jenkins for my faves).

JHPENTERTAINMENT: I just spoke with your co-star, Eric Grace Bailey, who also adapted Ibsen’s work for this production. She opted to shift the time and setting to modern day. How do you think that enhances this particular version?

WILL HENKE: I think the charm of the modernization lies in the very ability to do so. Setting Hedda in current times as opposed to 1890s Norway is a testament to the timelessness of the piece.

JHPENTERTAINMENT: Your show bio includes a mention of your theatre origin, having played Horse #3 in a high school production of Cinderella. How did that humble beginning prepare you for a life on stage? 

WILL HENKE: There are no small parts. Just small horses.

RAPID FIRE WITH HEDDA GABLER’s SAWYER LATHAM

JHPENTERTAINMENT: How would you describe Judge Brack, the character you play in Hedda Gabler?

SAWHER LATHAM: Brack, in simple terms, is a power hungry narcissist. His entire driving force is manipulating the people around him and he derives pleasure from bending people to his will. Just a stand up guy. 

JHPENTERTAINMENT: Playhouse 615 audiences might recognize you from your recent turn in their production of The Woman in Black. What is it about your experience at Playhouse 615 that prompted a return for another show? 

SAWHER LATHAM: The environment behind the scenes is one of the best in Nashville and the surrounding areas. There’s a certain feeling you get when you’re around people who care as much as you do. I get that feeling here. 

JHPENTERTAINMENT: Your admitted AI-generated acting resume, though mildly entertaining, is largely bereft of any real details of your former roles aside from Smoke during The Bell Witch Fall Festival. What was your first stage performance?

SAWHER LATHAM: My first onstage performance was with the Theatre Bug back in like 2015. I played a little techie kid in Showmance. I don’t remember too much from that process but I must have enjoyed it to still be around doing it today. 

JHPENTERTAINMENT: What is it about Hedda Gabler that continues to interest audiences and remain relevant some 131 years after Ibsen first wrote it?

SAWHER LATHAM: I mean, it’s a classic for a reason. I don’t think I can add anything to it that hasn’t been said already. Ibsen created such an interesting world with incredibly complex characters. Ahead of his time. 

JHPENTERTAINMENT: Your co-star, Eric Grace Bailey of course also adapted this particular presentation. Being the premiere production of this iteration, were there scene in her adaptation that were edited or changed as rehearsals went along?

SAWHER LATHAM: There were definitely trims along the way but in whole it’s remained mostly intact from the first draft. I was lucky so most of my things remained unchanged so I never had to

RAPID FIRE WITH HEDDA GABLER’s MILES GATHRELL

JHPENTERTAINMENT: Who is George Tesman to you?

MILES GATRELL: George is the definition of a guy who looks good on paper: kind, promising career, good family. Unfortunately, in practice he lacks the emotional intelligence for a healthy relationship. He’s someone who is always falling a little short, but can’t understand why. 

JHPENTERTAINMENT: As George, you play Hedda’s easy-going, but inevitably put-upon husband. How is Erin Grace as a co-star?

MILES GATRELL: Erin Grace is the reason I’m part of this show! We had the opportunity to work together last year in the Actor’s Bridge production of Things I Know to Be True. She’s talented, professional, and a joy to collaborate with.

JHPENTERTAINMENT: Your character also shares an on-stage relationship with Beth Henderson’s Juliana Tesman, George’s aunt. I’ve gotta tell you, I consider Beth one of my ‘theatre crushes’, having seen her in a multitude of roles through the years and always being absolutely grateful for the opportunity. How has it been to share the stage with Beth?

MILES GATRELL: This is my first time working with Beth, and I’ve very much appreciated her presence in this show. Her focus and dedication helped ground me during the process, and working our scenes has felt like a breeze.

JHPENTERTAINMENT: Alright, I’m not letting this interview end without going completely off topic to ask about your vintage toy collection. Fellow vintage toy and pop culture nerd here. My favorite item in my collection would have to be my original Bionic Woman lunchbox that I’ve had since I was a kid. What’s among your favorites?

MILES GATRELL: I’m sure some people will balk at this being considered vintage now, but I have a small Pokémon statue that was given away at the 1998 Tokyo TV Fair. As far as I can tell only one has ever been sold on eBay, and it’s quite difficult to find information about it. I managed to snag it from a junk store in Des Moines, Iowa for about four bucks.

JHPENTERTAINMENT: Like your co-star, I understand you’ve also written and produced a couple of plays. Do you believe being creative in both regards enhances your performance as an actor?

MILES GATRELL: I think dipping into playwriting can be very helpful for an actor. Performers can become very focused on their character, and what they hope to achieve in the role. I think it is important to always check back in with the larger story being told. Playwriting makes it easier to understand how your character fits into, and complements that bigger picture. 

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Playhouse 615’s Hedda Gabler completes its four-week run with performances Friday, Saturday and Sunday, April 26, 27 and 28 with evening performances at 7:30p.m. on Friday and Saturday and a final Sunday matinee at 2:30p.m. Playhouse 615 is offering a special BOGO (buy one get one) ticket offer for $20 (that’s the usual price of one ticket). CLICK HERE to purchase tickets. You can also reserve your spot by calling the box office at 615.319.7031, or you can purchase tickets (if available) at the door, day of show, an hour before curtain.

Up next for Playhouse 615 is Nunsense, directed by Daniel Vincent and starring Linda Gaille, Ann Street Kavanagh, Diane Bearden-Enright, Cat Eberwine and Takiah Ledo. Nunsense runs May 10-May 26. CLICK HERE for tickets. For more on the show and to keep up with Playhouse 615, check out their website or follow them on Facebook.

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

Theatre Review: Don’t Piss off God, Go See Nashville Rep’s ‘The Color Purple’, A Majestic Celebration of the Importance of Self

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Before some folks get all bent out of shape, that headline is a nod to one of the most famous lines from Alice Walker’s emotional novel, The Color Purple, in which juke-joint singer Shug Avery says, “I think it pisses God off if you walk by the color purple in a field somewhere and don’t notice it. Thanks to Nashville Repertory Theatre’s moving presentation of the musical based on Walker’s novel, you can’t help but notice the brilliance and beauty of the work.

As I mentioned in my recent double-shot Rapid Fire 20Qs featuring Nashville Rep’s The Color Purple guest director Reggie Law and seven primary members of the cast, I’ve been a fan of the 1982 Pulitzer Prize-winning source material since first read it when I was in high school. The subsequent Spielberg-directed film adaptation, the Tony-winning 2005 Broadway musical and 2023’s musical film rejuvenating my love of the story time and time again. Directed by Law and featuring a truly star-filled cast headed by Carli Hardon, Nashville Repertory Theatre’s The Color Purple continues that legacy, reminding us all that there’s beauty in everything…and everyone, you just have to take the time to notice it.

When the curtain rose on Opening Night of Nashville Rep’s The Color Purple, I was immediately struck by the starkness of the set. Director Law, scenic director, Joonhee Park and lighting designer Dalton Hamilton obviously opted for a minimalist approach in that the set consists seemingly simply of a massive wall constructed of wooden beams spaced just far enough apart to allow light to filter in. I say seemly simple, because it’s ultimately effective, especially when a multitude of hues of light are used at various times to seamlessly convey emotion appropriate for each scene.

As Celie, the story’s downtrodden central character, Carli Hardon doesn’t waste any time drawing the audience in with her multifaceted portrayal. In fact, for the first time since seeing The Color Purple musical nearly twenty years ago, I actually heard this song. I mean I really heard it. Aided by Maya Riley, one of the Nashville theatre community’s brightest rising stars as Celie’s sister, Nettie. The duo of Celie and Nettie set the pace for the entire show with the elementary, but theme-establishing Huckleberry Pie. A quick singsongy nursery rhyme of a tune Huckleberry Pie gives the audience the first glimpse of the overall message of hope for better things to come with the simple lyric, “Sure ‘nuf sun gon’ shine, Gon’ be grown ladies of the marryin’ kind. Sure ‘nun moon gon rise, like a huckleberry pie in the middle of the sky.”

During this opening sequence I was immediately moved by these lyrics like never before. Here are two young Black girls dealing with unspeakable struggles, but who nevertheless keep focusing on the positive…the future. Yes, these themes from a novel written some forty years ago, about a time in history a century ago are still prevalent today and are key to why this story still resonates. And Yes, minutes in and my eyes were already sweating. I was also struck by both Hardon and Riley’s physicality in this scene. Both actress, though young in real life, completely transformed themselves by their movement, their speech patterns and expressions, into young girls, young sisters.

Then comes the entire company for Mysterious Ways, a hymn of a song, set in the local church (effectively indicated as such by a singular light source casting the shape of a illuminated cross onto the wall behind the action) where the entire community sings of God watching over them no matter. Nia Safari Banks’ costumes are a highlight of this number, for if you’ve ever had the great fortune to attend a Black Church, you KNOW the way you present yourself before the Lord IN the Lord’s House is of utmost importance! Which leads me to the Church Ladies, Darlene, Doris and Jarene, a snooping, truth-tellin’ trio who pop up now and again throughout the show to fill the audience in on the latest happening. Lindsay Kay Pace, Yolanda Treece and Meggan Utech a divine trio indeed as the Church Ladies. Characters I know all too well, for you see, growing up, there were two ladies in the church my family attended who I lovingly referred to as my very own ‘Church Ladies’. They were always there to stick their noses in and offer advice, unsolicited though it may have been. I can’t be the only one who kind of wishes Pace, Treece and Utech would develop their own show around these three characters. Not only do they provide intel, but plenty of smiles as the absurdity of their insertion into every situation.

Giving the Church Ladies something to talk about…enter Mister, as played by Elliott Winston Robinson. As Robinson alluded in my Rapid Fire 20Q, Mister is a chance for the every-smiling, always kind and friendly Robinson to play against type. Mister is just mean, and Robinson approaches the role with perfectly menacing aplomb. Those familiar with the story know that Mister initially has designs on the younger Nettie, but settles for Celie. Then vengefully vows to separate the two sisters forever. Physically torn apart, Nettie promises to write her sister every day. Law’s extraordinary acumen as a director is never more evident that in his choices during the scene when Mister tells Celie she is never to go near the mailbox. I won’t spoil it here, but y’all! I didn’t know I was gonna need to invest in Kleenex for this entire show.

The Color Purple is peppered throughout with memorable moments courtesy music and lyrics by Brenda Russell, Allie Willis and Stephen Bray and book by Marsha Norman. The aforementioned Church Ladies being a prime example. There’s another trio worth watching, as well. Ensemble members Justin Boyd, Jaylan Downes and Richard J. Harrison Jr. as field workers remind Celie that Mister is the boss during the pounding Big Dog number, Joi Ware’s choreography herein, a strong nod the the original Broadway presentation.

Speaking of memorable men, Gerold Oliver is just sooooo good as Harpo, Mister’s ne’er do well son. He get’s his moment to really shine alongside the men during Brown Betty, a song praising the beauty of Black women, Raven Buntyn’s Squeak, in particular. Speaking of Squeak, thank goodness Buntyn vocally pays homage to the character’s name by occasionally hitting a pitch so high that she actually squeaks when she talks, something the recent film adaptation opted not the do. I also loved the quick pop-in appearances by some of the female ensemble during this one, too. Oliver’s Harpo offers not only comedic levity from time to time, but also becomes the first man in the story to break the cycle of violence towards women.

Of course Harpo has a bit of assistance in breaking that cycle in the form of his no-bullshit-taking wife, Sofia, played to the absolute hilt by the gloriously talented Shinnerie Jackson. It was everything I could do to remain in my seat at the end of her anthemic Hell No number. The thunderous applause that followed was evidence I was not alone in my appreciation of the number and Jackson’s performance. Cause here the thing, Jackson’s portrayal of Sofia hits all the notes, not just musically, but emotionally. When she’s strong and defiant, the audience feels that defiance and empowering presence. When Sofia is temporarily defeated, we feel that too. An exemplary performance all ‘round!

A little over midway through Act 1 and it’s time for another of my favorite musical moments, Shug Avery Comin’ to Town’ it’s an all-in for the entire company. Law’s direction, Ware’s choreography and the show’s musical director, Dion Treece, along with the entire company pull out all the stops for this one, creating the perfect buzz befitting the arrival of Tamica Nicole as Shug Avery, the singer who opens up a whole new world to Celie, and in the process teaches Celie that she’s worthy the happiness she longs for. To that end, Too Beautiful for Words is…just that! Nicole’s approach to Shug is stronger than any I’ve seen in other theatrical performances of the musical. Frequently portrayed a little too drunk, a little too messy, Nicole’s Shug has a strength that’s palpable. Her confidence in the role makes it all the more evident why Celie should fall under her spell, as we all do.

Nicole continues to command the spotlight with Push Da Button another all-in up-tempo number. If Mysterious Ways exemplifies the relationship the Black community has with God, Push Da Button provides the other end of the spectrum. With The Color Purple set in the South of the early-to-mid 1900s, Push Da Button serves to remind us that those who work hard deserve to play hard. It’s a sexy, rollicking good time. If only Shug’s wardrobe for the number matched the excitement. Yes, that is my one and only slight disappointment with the entire show. I was just hoping for a show-stopping BAM! of an outfit for this one number. But again, when the material and the performances bring it, a minor thing like a missed wardrobe opportunity is insignificant.

The chemistry between Nicole’s Shug and Hardon’s Celie is simply magical. You truly believe these two women have discovered a love and bond like never before.The progression of this relationship is perfidy paced and played out not doubt by way of the director’s precise instruction, but also these two actors’ understanding a care for the characters.

In the same way, when Nettie returns, there’s an overwhelming joy that radiates from the actors through the entire theatre when Riley’s Nettie returns near show’s end to reunite with Hardon’s Celie. Dressed in patterned African clothes, Nettie looks regal indeed. Again, I was struck by her mannerisms, posture and way of speaking, all extraordinarily representing the passage of time and aging of her character. Just another reminder of the top-notch theatrical experiences you can always count on Nashville Repertory Theatre to provide.

The heartache, troubles, triumphs, joy and love examined and presented throughout The Color Purple are the heartbeat of the piece. So do your spirit a favor and go see this masterful example of theatrical bliss while you can.

Nashville Rep’s The Color Purple continues at TPAC’s Polk Theatre through Sunday, April 14. CLICK HERE for tickets. In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

In case you missed my TWO Rapid Fire 20Q interviews with the director and cast, CLICK HERE…and HERE to check them out!

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