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Theatre Review: With an Electrifyingly Youthful Cast, ‘The Outsiders’ Indeed Stays Gold; at TPAC thru Sunday, October 19 as National Tour Continues

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From the moment the house lights dimmed in TPAC’s Jackson Hall on October 14, the national touring production of the Tony-winning Best Musical, THE OUTSIDERS made it abundantly clear: this is much more than nostalgia, more than adaptation — it is an emotional lightning strike. If Opening Night of the show’s six night Nashville tour-stop in Music City is any indication, the show promises to bring Tulsa’s Greasers and Socs to life with gritty heart, physical daring, and a musical pulse that lingered long after the final bow.

Based on S.E. Hinton’s seminal 1967 novel and a more than noticeable nod to the beloved 1983 Francis Ford Coppola directed film, that starred a who’s who of Hollywood up-and-comers including C. Thomas Howell, Matt Dillon, Tom Cruise, Diane Lane, Ralph Macchio, Patrick Swayze, Rob Lowe & Emilio Estevez, THE OUTSIDERS is a coming-of-age tale rooted in class divides, brotherhood, trauma, and the fragility of youth. The touring production, carrying the same Tony-winning creative team behind the Broadway show—director Danya Taymor, choreography by Rick & Jeff Kuperman,  design courtesy the design collective AMP featuring Tatiana Kahvegian—hooks into the source material while carving out a new theatrical identity. 

As is always the case, whether the story unfolds on the pages of the original book, or the aforementioned star-packed 80s now-classic cinema, the heart of THE OUTSIDERS always lies rests on the young shoulders of Ponyboy, Johnny, and Dallas — and in this magnificent tour cast, they are delivered with conviction.

All Photos by Matthew Murphy

Ponyboy Curtis (played by Nashville’s own Nolan White) is an earnest center. His vulnerability is palpable: you feel his longing, his anger, his fear. The softer, more introspective moments become small victories of clarity. When Ponyboy admiringly watches Paul Newman on the movie screen, dreaming of escaping his current us-vs-them small-town life, he’s instantly relatable to anyone who grew up unsure of what the future holds for them. When he recites Robert Frost’s Nothing Gold Can Stay, there’s not a dry eye in the house. Such emotion from such a young man is breathtaking. Later, when confronting what it means to “stay gold”, White again proves talent beyond his years.  As I watched his performance on Opening Night of the Nashville dates, I marveled as the depth of his performance.

Johnny Cade (Bonale Fambrini) brings quiet intensity. His internal fragility — the sense that one more blow could break him — is juxtaposed with flashes of courage, especially in the church escape and later in his struggle to be seen. The camaraderie between Fambrini and White as Johnny Cade and Ponyboy Curtis is so believable, you just know these two young actors are forging a lifelong bond as friends on and off-stage.

Dallas Winston as portrayed by Tyler Jordan Wesley is swagger and sorrow intertwined. When the script calls for it, he roars like a lion, conversely, when necessary, he retreats far into himself, caught between angry rebellion and fracturing grief. In the inevitable climactic moments (surly by now we’ve all read the book or seen the movie), his breakdown feels earned — not sensational, but visceral, and sadly necessary.

The supporting ensemble (Sodapop, Two-Bit, Cherry, Bob and the rest of the Greasers and the Socs) feels fully realized. Corbin Drew Ross’s Sodapop Curtis, a standout, has infectious warmth, and yes, there’s no denying he looks the part, too. When he takes off his shirt early on in the show, I’m pretty sure I heard audible gasps as he revealed his sleek physique. I even asked my date for the evening (a dancer, herself) if she knew if he was a dancer or not. I also gotta mention Ross’s speaking voice. Meek and unassuming, I swear he’s having fun with the audience seeing if we think he sounds like Charlie Hunnam’s soft-spoken version of Ed Gein, but I digress.

As Cherry, Emmy Hearn soars, especially in moments where she bridges the divide between Socs and Greasers. A Cherry’s Socs steady, Bob, Mark Doyle paints the perfect high school bully and personification of thorn in Ponyboy’s life.  Travis Roy Rogers’ Darrel Curtis, the eldest of the Curtis boys, finds a perfect balance between forced adulthood as the unplanned patriarch of the family, while simultaneously exhibiting his own self-doubt and unrealized dreams. Jaydon Nget’s Two-Bit brings a subtle but studied undertone to the wisecracking youth.

The structure propels you forward. With rapid scene changes, interwoven monologues and dreamlike transitions, it is never dull.  The minimal scaffolding, projections, and shifting platforms keep the world lean yet alive. A perfect metaphor for the young cast themselves, lean, strong, always moving forward and alive. Interestingly, even before checking the Playbill and seeing that Kahvegian is credited as having created the scenography, I whispered to my date for the evening that I was coining a new term setography, because even when wood planks, tires, and various other elements of the minimal set were moved between scenes, they were done so-by the cast, no less- with such precisions and grace that the we at once unnoticeable, yet seamlessly part of the overall choreography of the piece

Coining another term, the fightography, especially in the pivotal confrontation between the Greasers and the Socs, is now the most beautiful movement I’ve ever seen on the stage. That honor, previously held by the quick/sharp jazz movement of the fight between West Side Story’s Sharks and Jets, no fully belongs to THE OUTSIDERS’ Greasers and Socs. Magnificently aided by Brian MacDevitt’s impactful lighting design, Cody Spencer’s chillingly vibrant sound design, Jeremy Chernick and Tillis Meeh’s mood-intensifying special effects design, the aforementioned AMP featuring Tatiana Kahvegian’s Tony-nominated scenography, and choreography by Rick and Jeff Kuperman, the fight choreography — punches, tumbles, and heart-pounding tension the show is choreographed to haunt, with no detail unattended. Slow-mo momentary freezes, punctuated by lighting cues, thunderous sound and an on-stage downpour, create a scene like none ever witnessed. A hauntingly perfect moment that’s likely forever etched into memory.

With a score by Jonathan Clay and Zach Chance, known collectively as folks duo Jamestown Revival, and Justin Levine, who also wrote the book of the musical, the score of THE OUTSIDERS fully embraces the rural small-town setting. Heck, the first number set the tone and time with the aptly named Tulsa ’67. THE OUTSIDERS score isn’t one that you’re likely to be humming after the show’s over. But, in the moment-while watching the story of young people trying to figure out who they are in their world as they struggle with inherent class division, sadness and expectations-realized or dreamed-the musical numbers perfectly propel the story, the emotion and the hopefulness of the characters. Fans of the novel might know that Ponyboy is reading Gone With the Wind. For the musical adaptation, Margaret Mitchell’s classic has been replace, dare I say, more fittingly, with Charles Dickens’ Great Expectations. To that end, Great Expectations, an impressive all-in musical number midway through Act 1, as lead by White’s Ponyboy, becomes a pivotal point as the audience fully realizes how trapped our antihero feels. Act 2’s Soda’s Letter, performed by Sodapop (Ross), Darrel (Rogers) and Ponyboy (White), in its raw, revealing, secure-in-their-masculity brotherhood realness, proves a tender audience favorite. Dallas (Wesley) and the company’s Little Brother, the perfect eleventh hour soulful and soul-gripping emotional melody. Of course you can’t have a THE OUTSIDERS musical without paying tuneful homage to the phrase “Stay Gold”. That said, the show’s final number, Stay Gold featuring White’s Ponyboy and Fambrini’s Johnny lyrically recounts the action of the story, reiterated Johnny’s wish for his friend and just like the precious metal referenced in the phrase, reflects brightly the beauty of friendship.

THE OUTSIDERS National Tour continues at TPAC’s Jackson Hall with a Friday evening performance, matinee and evening performances Saturday and Sunday. CLICK HERE to tickets and showtime details.

Having officially kicked off the National Tour in Tulsa (appropriately enough) just last month, following its Music City dates, THE OUTSIDERS tour continues with a four-city Texas tour in Austin, San Antonio, Dallas and Houston, then it’s on to Atlanta, GA, Durham, NC, Greensboro, NC, Orlando, FL, Tampa, FL, St Louis, MO and more through September of 2026. CLICK HERE for specific dates and the full tour schedule. Of course THE OUTSIDERS is still enjoying a hugely successful Broadway run at the Bernard B. Jacobs Theatre, so if you’re in New York, CLICK HERE. To keep up with the latest from THE OUTSIDERS, follow them on Insta, Facebook, Threads and YouTube.

Following THE OUTSIDERS, TPAC’s Broadway Season continues with the return of a favorite, Disney’s BEAUTY AND THE BEAST with an extended run November 4-16. CLICK HERE for tickets and showtimes. You can also follow TPAC on Insta, X, YouTube and Facebook.

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

THEATRE REVIEW: ‘LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom’ at The Keeton thru October 26

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Before LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom ever graced The Keeton stage for its Tennessee Premiere (onstage now thru October 26), it had already began its own fascinating chapter in the story of I Love Lucy. Based largely on Laughs, Luck… and Lucy: How I Came to Create the Most Popular Sitcom of All Time—a memoir by I Love Lucy creator Jess Oppenheimer, completed by his son Gregg Oppenheimer in 1996—the play traces the real-life creation of television’s most enduring comedy.

Originally premiering at UCLA’s James Bridges Theatre in 2018 as I Love Lucy: A Funny Thing Happened on the Way to the Sitcom in an L.A. Theatre Works production, the World Premiere featured Sarah Drew (Grey’s Anatomy) as Lucille Ball and Oscar Nuñez (The Office) as Desi Arnaz, and was recorded live for public radio. The piece was later reborn under its current title, LUCY LOVES DESI, for a 2020 BBC Radio 4 broadcast starring Anne Heche and Wilmer Valderrama. Most recently, the play completed a successful 21-city national tour with L.A. Theatre Works in 2023, bringing audiences across the U.S. an intimate, funny, and touching tribute to the groundbreaking sitcom.

Now, it’s Nashville’s turn as The Keeton’s audiences have the chance to experience this love letter to television history, thanks to The Keeton’s delightful and impeccably cast production. Directed by Donna Driver, the show invites audiences behind the curtain (or, more accurately, behind the microphone) to witness how Lucille Ball and Desi Arnaz fought to bring their vision to life in a skeptical, male-dominated industry—and how their persistence changed entertainment forever.

During Driver’s welcome remarks on Opening Night, she very kindly made mention that it was yours truly who had suggested the play be part of their current season, so you know I loved that. She also informed the audience that the playwright had been very accessible via numerous phone calls and emails during preparation and rehearsal for The Keeton’s production, even writing new scenes and adding in vignettes featuring classic musical moments from I Love Lucy to allow The Keeton’s production of the show to expand from its original one-act length to a full two-act show. In doing so, The Keeton’s production captures both the warmth and wit that defined I Love Lucy while reminding us that innovation often begins with risk.

The Keeton’s scenic designer, Kevin Driver’s clever set—the backdrop transformed into a vintage 21” wooden cabinet tv, upscaled to about 10’x10’, complete with old-school antenna—allowed the audience visuals for scene changes by way of stills projected onto the large tv screen of locations like CBS & Desilu Studios and The Arnaz’s Palm Springs home. Completing the set, simple chairs for the actors to sit while not featured, and the side stage riser all come together to evoke the golden age of live radio, complete with period microphones, a glowing “On Air” sign, and a prominently featured Foley table manned with precision and playfulness by Beverly Grant, whose sound effects artistry earns laughs all its own. You’ll likely find ourself looking up at the Foley table more to catch Grant’s antics from time to time.

I always correct folks when they introduce me as a theatre critic, preferring the term reviewer, but I have to be truthful, being a huge Lucille Ball fan and longtime memorabilia collector of both her I Love Lucy years and her film career before (and yes, even her years after), I came into the evening with reservations, with my critic hat fully in place. I also have to admit that I was, overall, pleasantly and thankfully surprised at just how sweetly, lovingly and honorably the cast of The Keeton presented the backstory of how my favorite comedy actress and her Cuban bandleader husband made television history.

The way this performance is structured, Jason Rainwater’s Desi Arnaz steps in and out of the action of the play to talk directly to the audience. As Desi Arnaz, Rainwater delivers a winning performance full of charisma and authenticity. As he mentioned during our recent Rapid Fire 20Q when I questioned him on the authenticity of his Desi voice, his vocal work is uncanny—so richly textured and musically accurate that it often truly sounds like Arnaz himself. The chemistry between Rainwater and Grace Gaddy as Lucy is the stuff of which stage pairings are made; together they bring the Ball–Arnaz partnership to life with warmth, wit, and a rhythm that feels instinctual. Just as one would imagine him, Rainwater’s Desi is a charmer, a showman, a proud immigrant and a great example of a mid-century business man and entertainer who redefined what it is to live the American dream.

While none of the cast truly look like their real-life counterparts, it’s not an impersonator show in Las Vegas, after all, Grace Gaddy’s Lucille Ball is, when all is said and done, a loving tribute to the iconic comedian. From her expressive eyes and impeccable comic timing to the way she embodies Lucy’s signature blend of glamour and goofiness, Gaddy gives a performance that’s joyously alive. Her physicality and facial expressions elicit hearty laughter while paying true homage to one of television’s greatest icons. My only hesitation in a giving Gaddy’s Lucilly Ball a full five star review rests on the fact that Gaddy’s choice of voice isn’t quite there. Yes, Lucille Ball’s real-life voice was quite different from her quicker, higher-pitched Lucy Ricardo voice, but Gaddy, try as she may, never quite hits the mark vocally. Of course the average Keeton audience member will easily overlook this because of Gaddy’s otherwise full-force embodiment of the iconic comedic actress. It should be noted that Gaddy’s Lucy is at her best not only when recreating a few classic I Love Lucy moments–her lip-smacking, face-pulling expressions during a quick look at Vitameatavegamin is indeed near-perfection–but also during scenes that show the rarer more vulnerable moment of the woman behind the legendary laughs.

Even though he plays the man upon whose book this play is based, Michael Welch has the benefit of playing someone most people have never seen and whose physical appearance isn’t as easily recognized as the four stars of the groundbreaking sitcom. That anonymity works to Welch’s advantage as he simply shines as Jess Oppenheimer, serving as the grounding force amid the behind-the-scenes chaos. His balance of humor and sincerity keeps the story engaging and human. His scenes between Gaddy’s Lucy and Rainwater’s Desi truly exemplify Oppenheimer’s role as both close friend and trusted collaborator in the creating of one of the world’s most beloved sitcoms.

Cassidy Davis is delightful as Betty Garrett, a close pal of Lucille Ball’s who happens by the radio studio in a brief scene early on. Again, pop culture nerd that I am, I feel compelled to remind you that Garrett, a radio and film star like Ball in their early days, also gained fame on television—for roles on All in the Family and Laverne & Shirley (Garret played the girls’ landlord and Laverne’s eventual step-mom). I do wish there’d been time for a wig change as Garrett was more often a brunette. But yes, I’m just being picky. However, it’s Davis’ Vivian Vance that’s key to the story. Davis plays Vance a little sweeter, a little lighter than the real actress and again, there seems to be no concern for sounding like the original. Nonetheless, Davis nails each of her many roles—from Betty Garrett and various secretaries throughout to Vivian Vance and even a male executive at one point—with comedic grace and sharp timing. Again, does she really look or even sound like Vance? No, but does she deliver the goods? Yes.

Living up to his last name, Brian Best as William Frawley, is indeed, the best at fully embodying the role. Best turns in a masterclass of voice acting. His portrayal of William Frawley is eerily accurate, perfectly capturing Frawley’s gravelly timbre and gruff charm, while also handling multiple other characters—including network head William Paley—and with more than a bit of a smokers cough, Best’s Parker McComas, President of I Love Lucy sponsor Philip Morris, is a scene stealer. Rounding out the ensemble, Eric Crawford, Chris Hill, and Tony Bernui each contribute energetic and distinctive performances that heighten the show’s humor. Crawford’s facial reactions, Hill’s authoritarian vibe and Bernaui’s ability to switch from portraying Lucille’s early radio husband, the dashing Richard Denning, to I Love Lucy season one director and friend of Vivian Vance, the theatrically flamboyant Marc Daniels, all add to the fun of the piece.

Musically, this expanded version of the show delights with nostalgic selections that evoke memories of classic I Love Lucy episodes, including I’ll See You in C-U-B-A, Friendship, California Here I Come, and the beloved I Love Lucy theme song, complete with a bit of a did you know who wrote it spoiler and Rainwater and Gaddy singing the rarely heard lyrics. Enhancing the musical score throughout, frequent Keeton musical director Roger Hutson’s piano recordings add a lighthearted, era-appropriate touch, while Steve Love’s sound design, Brooke Sanders’ lighting, wig design by Alison Gaddy (loosen up those wigs so they look more natural and like the real-life ladies they’re styled after) and Denese René Evans’ costumes work in harmony to transport the audience straight to midcentury Hollywood. Evans’ costumes throughout are quite fun and seemingly period authentic, I do wish that Lucille’s Emmy dress was accurate, through…again, I’m just being an overzealous Lucy fan.

In spite of my above-reference initial hesitations and a strangely tepid Opening Night audience (Note: it’s ok to laugh out loud and to applaud after a particularly entertaining scene) and what could probably be chalked up to first night jitters from the cast resulting in the majority of Act 1’s delivery being a tad flat with several lines coming across as monotone with not real inflection and somewhat memorized, rather than convincingly felt and delivered with punch, those initial hesitations faded once the cast found their groove.

Bottom line, The Keeton’s LUCY LOVES DESI is a sentimental, heartfelt tribute to two of television’s most influential pioneers and the creative force behind them that believed America just might take to heart the story of a zany redhead and her latin love. Equal parts history lesson, love story, and nostalgic romp, it captures the magic that made I Love Lucy timeless—and proves that behind every great laugh is a story worth telling.

LUCY LOVES DESI: A Funny Thing Happened on the Way to the Sitcom runs through October 26 at The Keeton Dinner Theatre, oh and speaking of dinner, just like Lucy enjoyed at The Brown Derby, in the February 7, 1955 Season 4 episode of I Love Lucy titled L.A. at Last, The Keeton is serving up Spaghetti and Meatballs with a side salad and croissant and dessert for the pre-show dinner.  CLICK HERE for tickets and showtimes. 

If you happened to miss my recent Rapid Fire 20Q with the cast, CLICK HERE to check it out.

Following LUCY LOVES DESI: A FUNNY THING HAPPENED ON THE WAY TO THE SITCOM, The Keeton’s current season continues with SHE LOVES ME, onstage December 4-21, BIG FISH, running February 6-22, THE PLAY THAT GOES WRONG April 10-26, with STATE FAIR closing the season June 13-29! CLICK HERE for tickets and more details. 

So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X 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: ‘Dracula’ at Studio Tenn Sinks its Teeth into Gothic Perfection for the Halloween Season

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From the moment the lights dim at Turner Theatre at The Factory in Franklin and shadowed members of the ensemble began their hypnotic whispered “the blood is the life” mantra, Studio Tenn’s production of DRACULA (on stage through Sunday, October 26) takes a firm hold of its audience with a smart and tight grip. Under former Nashville Ballet artistic director Paul Vasterling’s direction, expertly aided by costume genius and set design phenom, Matt Logan, this staging of William McNulty’s adaptation (first made available in 2008) strides confidently between classic Gothic terror and gorgeous modern theatrical immediacy.

McNulty’s version—while drawing on the legacy of Deane & Balderstone’s earlier stage dramatizations of Bram Stoker’s 1897 novel—makes clear that DRACULA is not meant to be the one-dimensional romantic antihero so often seen in television and film adaptations, but equally a predatory force. In the playwright’s own notes, the Count is emphatically a predator, not a lover.  That conception is borne out vividly here. From start to finish, this is a show that relies equally on precision, mood, and theatrical craft.

Jay Sullivan is chilling as Count Dracula. He doesn’t simply linger in darkness or seduce with tropes and languid charm; he strikes, unsettles, and stalks. Director Vasterling’s background in artistic movement are ever-present in Sullivan’s Dracula. Not only does he  enrapture the beautiful Mina (Savannah Stein) in a spell-binding dance early on, but with every jump-scare stage entrance, Sullivan’s Dracula moves with purpose. And yes, just for fun, there’s even a fully cloaked cape-tossing moment or two mixed in. Throughout, Sullivan’s Dracula’s presence is truly commanding. While he could easily fit the bill of the stereotypical matinee idol fanged icon, Sullivan is never merely handsome—remaining always horrifying.

Opposite him, Sullivan’s performances is beautifully balanced by Brian Webb Russell who gives a gravely controlled performance as Abram Van Helsing, anchoring the heroic opposition with clarity of intent and moral weight. Russell’s Van Helsing offers the perfect amount of sharp intellect and righteous urgency. His verbal sparring with Sullivan’s Dracula are electric—two forces circling each other in a battle of will and belief.

Morgan-Ellene Davis (Lucy Westphal) delivers one of the show’s most affecting arcs: her descent from bright innocence into vampiric torment is staged with heartbreaking clarity. Davis’ Lucy, once bitten, switches from demure to demonic with ease and believability.

As previously mentioned Stein’s Mina is simply breathtaking. As the Count’s earlier victim before the action of the play, Stein’s Mina is as enchanting as she is enchanted. A later scene involving Mina and The Child (Emily Stephens) is chillingly portrayed, evoking terror and tenderness as the undead Mina and The Child form a undead maternal bond that equally heartbreaking and horror.

Andrew Johnson (Dr. Thomas Seward) and Nathan Quay Thomas (Jonathan Harker) each ground the story in human urgency; their moments of fear, confusion, and resolve feel earned.

The trio of Lane Adam Williamson’s Renfield, DéYonté Jenkins’ Norbert Briggs and Catherine Gray’s Margaret Sullivan are tasked with carrying a bit of dark humor that helps temper the heavy suspense.

Williamson’s Renfield is the right mix of mania and pathos. Adding much-needed and unexpected light moments to the piece, Williamson’s Renfield is an absolute delight as he bounds around the stage in some sort of manic merriment. Truly a tour de force making the most of a role that is often portrayed simply as a fly-ingesting whack job, Williamson’s Renfield doesn’t just steal every scene he’s in, he steals it, strips it down for parts, rebuilds it and sells it to you again! 

Jenkins and Gray also shine as employees of Dr. Seward, offering a bit of fun and frivolity in their relationship. When (Spoiler Alert) Margaret falls under the Count’s spell, her maniacal side takes over and Gray plays it like that one bipolar friend who’s off her meds. Additionally, Jenkins’ Briggs, when interacting with the bothersome Renfield is quite fun to watch. 

On the subject of trios, the trio of brides—Savannah Stein, Jordan Tudor, and Emily Stephens—are ghostly and intoxicating. Their choreography, shifting entrances, and chilling harmonious wailings lend the production a spectral elegance.

Jonah M. Jackson as The Monster (the manifestation of Dracula’s cursed power) makes an audacious and visceral impression. His physicality in the climactic confrontation is bone-chilling, indeed.

Even the stagehands, cloaked in hood black, add to the seasonal spooktacular vibe.

From a design aspect, Matt Logan is simply a wunderkind. As mentioned above, Logan wears dual hats as scenic and costume designer, and his aesthetic is one of controlled Gothic minimalism. Rather than busying the stage with heavy, ornate wooden furniture, Logan has chosen to present a relatively stripped-down set design. Throughout the action, a pair of rolling stair units are easily moved for each scene change by the aforementioned cloaked stagehands, each with a lighted candelabra for effects. More candle-esque lighting is seen hanging high above the stage. Upstage is draped with a velvety fabric that reflects the light and seems to change color as the action (and Stephen Moss’ lighting cues) intensifies. Immediately in front of the drape Logan has designed a seemingly simple but effective stained glass backdrop reminiscent of oversized windows often seen atop a grand staircase in gothic castles of days gone by. Rather than present it as a typical pattern of multicolored glass, Logan’s stained glass appears to be translucent and iridescent shards in a circular pattern, not unlike a spider’s web. Perhaps yours truly is just too into the vampire lore, but I fancied Logan’s backdrop symbolic on many levels. The shards of glass represent the broken lives affected by the Count’s reign. The spiderweb-like pattern, a nod to the web of deceit the Count inflicts upon his victims. The iridescent glass, perhaps a call-back to the age-old notion that vampires cast no reflection.

Then there’s Logan’s costumes. Every costume a work of art. The female cast members regal and radiant in finery fitting the period of the action. Van Helsing’s leather wardrobe, perfectly fitting for battle. Renfield’s asylum attire tattered and torn, but with a hit of glamour by way of some blinged-out blood spots. But it’s Dracula’s wardrobe that is truly glamorous and entrancing. From his first appearance bare-chested, but corseted in black to a black jacket accented with blood-red beaded erratic epaulets when he returns from a mysterious night right. (Gotta love that this particular look gets no mention within the context of the play, but is a jarring visual clue to the most astute audience member). The beauty of that costume not without merit, my personal favorite is yet another black jacket and pants combination. The jacket, from one side appears nothing special as the hem hits just below the actor’s waist, but from front view, its asymmetrical as the other side is more the length of a morning coat. Perhaps another visual clue of the duality of the wearer? Just when you think Logan’s used up his bag of costume tricks, in the final scene Dracula appears the most sparkly transfixing figure yet, but I’ll let you experience that on your own.

Elsewhere among the creatives behind the scenes, Stephen Moss’ lighting (with contributions from Rylee Hickey) is a constant revelation: pools of cold moonlight, abrupt slashes of red, deep shadows that swallow actors whole. Danny Northup’s sound design magnifies the small — a footstep, the soft drawn breath, the low hum in a crypt, mysterious howls in the night — and turns them into moments of tension. Eric Pasto-Crosby’s fight choreography delivers fight sequences that are not merely stagey but grounded: scrambles in dim light, body’s crashing violently (and realistically) against walls and tables, accentuating both subtle and substantial power shifts. Nettie Mae Craft’s work as dialect coach ensures an authenticity to the time the action takes place. Meredith Schieltz and the wig and makeup team and dressers intensify the look without theater-of-the-grotesque excess, sustaining consistency even through blood and transformation. Props by Charlie Webb, scenic artistry by Lauren Walters, and the carpentry under Brandon Penry all contribute quietly but indispensably—when a creature of the night beckons, a window smashes, or the coffin appears, you believe it.

What impresses most about this DRACULA is how it leans into its horror while refusing sentimentality. McNulty’s choice to portray Dracula as predator (not tortured romantic) is honored here. That clarity gives other elements room to breathe: the trauma of Lucy’s affliction, Mina’s struggle with memory and agency, Van Helsing’s moral burden, Seward’s scientific disbelief challenged by the impossible.

The play’s structure (multiple fast scene changes, eerie transitions, raising stakes) is handled deftly. The pacing is smart: you never lose tension, but you’re given moments to breathe, to register dread, before it ratchets upward again. The final confrontation is, yes, wild and shocking — and fully satisfying.

Studio Tenn has earned a reputation for ambitious, emotionally rooted theater, and this DRACULA fits right in. It reminds me of their earlier presentations of Frankenstein and The Elephant Man. The earlier pieces ask “how do we see others?” While DRACULA  asks “what does it mean to be unseen, to prey and be preyed upon?” Each, done exceptionally well, move past spectacle into something more haunting. In DRACULA, they pivot to horror, but retain that same appetite for theatrical integrity.

The fact that The Elephant Man and Frankenstein focused on what it means to be seen, to be judged by appearances—and DRACULA similarly addresses what is hidden, what preys beneath the surface—makes them complementary bookends in Studio Tenn’s always forward-moving trajectory.

Studio Tenn’s DRACULA is a production about control—control of terror, of space, of silence, and finally, of life and death. Its success lies in restraint and focus: the cast, led by Sullivan and Russell, deliver committed and precise performances; Logan’s design and the entire technical team generates atmosphere that lives in your spine; and Vasterling’s direction always keeps more in shadow than in full reveal. After all, it’s what we don’t see that scares us the most.

If you’re looking for a Halloween theater experience that is both smart and visceral, Studio Tenn’s DRACULA is more than just a seasonal thrill—it’s a dark, disciplined piece of art. CLICK HERE for tickets and showtimes.

Following the drama of DRACULA, Studio Tenn lightens the mood with a PINK GOES GOOD WITH GREEN: A Cabaret Fundraiser for Studio Tenn at TPAC on November 8. Broadway stars Carrie St. Louis and Teal Wick, who both spent time on The Great White Way in the mega-hit WICKED, as Glinda and Elphaba, respectively, will headline this one-night-only event. CLICK HERE for tickets or more info. Then, it’s a decidedly different holiday offering when Studio Tenn‘s Season 16 resumes as they present IRVING BERLIN’s WHITE CHRISTMAS, which happens to be my personal favorite musical…not just holiday musical, but my favorite musical of any genre and any era! CLICK HERE for tickets or more information.

Wanna keep up with the latest from Studio Tenn? Be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and X.

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. Until then, #GoSeeTheShow!

Theatre Review: ‘Ragtime: The Musical’; at The Keeton through Sunday, August 31

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There’s a certain something about heading into The Keeton-this area’s oldest continuing dinner theatre-on a summer night. You’re greeted with good food, friendly faces, and a buzz of anticipation. This certainly held true as I attended opening night of RAGTIME, their current production helmed by director Mitchell Vantrease. Under Vantrease’s sure-handed direction, with Roger Hutson conducting a lush, heart-pounding score, this powerful  production doesn’t just entertain—it moves you.

Before I delve into my thoughts on this production, let me just get one thing out of the way—Jayden Murphy is a revelation. At only 18, this recent Jimmy Awards semi-finalist steps into the role of Coalhouse Walker, Jr. with the kind of intensity and nuance you usually see from actors twice his age. His booming vocals, his emotional honesty, his laser-focused presence—Murphy’s Coalhouse is equal parts inspiring and heartbreaking. If you read his segment of my recent Rapid Fire 20Q, you already know he understands the depth and power of this role. On stage? He proves it. His voice, rich and smooth, possesses the perfect combination of strength, heartache and comfort. Act I’s Justice…just fabulous.

Matching him note for note is Miya Nichole Burt as Sarah. From her tender take on Your Daddy’s Son to each of her gut-wrenching ballads, Burt makes Sarah’s journey deeply personal. The chemistry between Burt and Murphy shines through, making Sarah’s fate hit all the harder.

Then there’s Holli Trisler as Mother. She’s the heart of this production—warm, grounded, and quietly commanding. Her Back to Before brought the house to much deserved applause, and judging from the audience around me, more than a few tears.

Nicholas Branson brings grit and grace as Tateh. His Gliding was staged with such simple beauty that it practically shimmered. You believe him when he sings of the American Dream, because he sings it like he’s living it. A gorgeous reminder that we’re ALL hoping to live it.

Meanwhile, Matthew Marcus gives us a restless, fiery Mother’s Younger Brother. His energy in every scene makes you sit up straighter, as if you’re being pulled into the whirlwind of his convictions. Like many of the cast, RAGTIME marks Marcus’ Keeton debut, but something tells me we’ll be seeing a lot more of this scene-snagging actor.

On the subject of noteworthy ensemble performances, The Keeton’s RAGTIME is brimming with them, chocked-full with moments you likely won’t be able to stop talking about on the drive home. For me? LaToya Gardner—one of my longtime “theatre crush”—absolutely slayed the Act I closer Till We Reach That Day. Her voice soared, her presence commanded the stage, and suddenly the entire room was with her, united in that raw cry for justice.

If Act I’s wow moment belonged to Gardner, Act II belonged to another of my longtime “theatre crushes”, Elliott Robinson as his Booker T. Washington pleads with Murphy’s Coalhouse Walker, Jr to Look What You’ve Done. Commanding yet full of quiet dignity, this monologue/song is the kind of performance that makes you lean in and take note.

Let’s not forget yet another veteran scene-stealer Danny Proctor as Grandfather. Only Proctor could toss out a couple perfectly timed quip that had the audience roaring, and then turn around and remind us why Grandfather’s cantankerous spirit has always been a fan-favorite.

Others whose performances added to this production include Joshua Mertz as Houdini, Brenda Brannon as Emma Goldman Brian Best as Willie Conklin and young actors Ryman Stanton and Ayla Carlock, who play Little Boy and Little Girl. Oh, and perhaps the biggest little scene-stealer of them all, Lawson Dowlen, who, with one eleventh hour walk-on, serves as another beautiful reminder that with each new generation, there’s hope for the future of us all.

Kudos also to the technical crew, including: Denese Rene Evans, for her work on some pleasing period-perfect wardrobe choices, choreographer McKenna Driver, who keeps the cast literally moving (though there was a bit of a modern take included in a few of the Harlem Ensemble scenes). Tech director Kevin Driver’s stripped-down set, basically a catwalk, two rolling stairs and a 45-star flag, seemed initially a tad lackluster, but when you realize the music, the voices and the talent are the focus, the industrial set design makes perfect sense. Then, when Murphy’s Coalhouse Walker, Jr. rolls up in stage-created Model T, complete with working headlamps, it’s evident that Driver was indeed in the driver’s seat as far as set design was concerned.

Lastly, I’m not sure if it was director Vantrease’s suggestion, or that of the costumer, or someone else, but I can’t tell you how much I appreciated the small, but noticeable detail of the hairstyles. The majority of the female cast elegantly sported either high pompadours or figure 8s while the majority of the male cast were sleek and sophisticated with deep side parts and a little hair grease.

With vocals rich and commanding to emotional performances from Murphy, Burt, Trisler, Branson, and Marcus, alongside unforgettable turns by Gardner, Robinson, & Proctor and all-‘round, this RAGTIME doesn’t just tell a story—it demands you listen to it. Mitchell Vantrease and his team have crafted a production that honors the show’s sweeping history while keeping it intimate and immediate.  It’s safe to say RAGTIME at the Keeton Dinner Theatre is one of the must-see productions of the summer.

What makes this RAGTIME so impactful isn’t just the talent on stage, but the truth of its themes. More than 25 years after its Broadway debut—and over a century after the events it dramatizes—the struggles against racism, class divides, and injustice are, heartbreakingly, still with us. Yet, in the midst of that sobering reality, RAGTIME reminds us that unity, compassion, and resilience can light the way forward.

It’s that blend of hard truth and enduring hope that makes this production so necessary—and so moving—right now. At the Keeton Dinner Theatre, RAGTIME isn’t just a night of great music and performance. It’s a call to remember where we’ve been, reflect on where we are, and hopefully, to believe in where we can still go.

But don’t just take my word for it. CLICK HERE to reserve your seats now and head to Donelson to experience RAGTIME for yourself. The show runs through August 31, and if the energy on opening weekend was any indication, you’ll want to snag tickets before they’re gone.

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!

Theatre Review: Franklin Theatrical Fellowship’s ‘Guys and Dolls’ Isn’t Just a Lucky Roll—It’s a Winning Hand; On Stage at Studio 615 thru July 20

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Franklin Theatrical Fellowship ups the ante with its high-energy, high-stakes production of GUYS AND DOLLS: AN IMMERSIVE THEATRICAL EXPERIENCE at Studio 615 as they transform the space into the hustle and bustle of 1950’s Biltmore Garage, lighting up the stage with a vivid blend of Broadway polish, classic charm, and heartfelt performances. Under the direction of Melanie Sutton, this beloved musical comedy overflows like a collection plate…or a bookie’s IOUs…with style, sincerity, and a whole lot of dicey fun.

At the center of the action is Philip David Black as the suave, gambling man Sky Masterson. Black brings the expected effortless charisma mixed with the perfect blend of uncertainty that only unforseen love can cause. His Luck Be A Lady is smooth and sweet, showcasing his ability to walk the line between rogue and romantic with ease. His chemistry with Rebekah Howell’s Sarah Brown is electric, especially in the Havana sequence where sparks (and drinks) fly. Howell, ever the vocal powerhouse, lends depth and sincerity to the morally upright mission worker. Her rendition of If I Were a Bell, a charm-filled Act 1 highlight.

As Nathan Detroit, Austin Correll brings an easy likability, capturing both the desperation and devotion of a man balancing his floating crap game with a 14-year-long engagement. Savannah Stein as the object of Nathan’s affections/objections, Miss Adelaide, is a true comedic standout, leaning brilliantly into the always-crowd-pleasing nasal New York twang and physical comedy with glorious abandon. Her performance of Adelaide’s Lament earns big laughs and even bigger sympathy for the much-delayed future Mrs. Detroit.

It comes as no surprise that Brian Charles Rooney’s Nicely-Nicely Johnson is a true showstopper. With impeccable comic timing and a dynamite voice–gotta love that sopranista range–Rooney brings down the house in the rollicking Sit Down, You’re Rockin’ the Boat—arguably the night’s most rousing number. He’s well matched by Jahi Emaud’s Benny Southstreet, whose swagger and harmony work are equally sharp. If you’re reading this, Studio Tenn, I’ve got your Wallace and Davis cast for your upcoming holiday production of White Christmas right here with these two!

Max Fleischhacker (Harry the Horse), James Wier (Scranton Slim), Matthew Hunter Hayes (Rusty Charlie) and especially the flask-sneaking Trayton Kaminski (Brandy Bottle Bates) round out the gang of gamblers with gusto, each adding unique flair to this criminally fun ensemble.

As for this productions  uptight citizens brigade, Brian Best offers a warm, paternal Arvide Abernathy, particularly touching in More I Cannot Wish You, while Jordan Tudor delivers authority and compassion, with a nice dose of humor for good measure, as General Cartwright. Katie Webb as Agatha and James Weir (doing double duty on the side of good as Calvin) round out the God squad of Salvation Army-esque Bible-thumpin’, cymbal-bangin’ do-gooders.

The Hot Box numbers are just plain fun, led with style and precision by Kelsey Brodeur (also serving as dance captain), alongside the effervescent Madison Crosby, Emily Stephens, and Allie Spengler. Their ensemble work perfectly sizzles thanks to playful choreography courtesy Allison Little, who keeps the movement crisp and era-appropriate while still leaving room for individual character. With Stein’s Adelaide, the Hot Box Girls’ performance of A Bushel and a Peck (one of my personal favorite Doris Day tunes, recorded the year the Broadway musical debuted) wonderfully presents the flitatious innocence of such numbers from that era.

Rounding out the cast, the towering Josh Kiev makes for a delightfully menacing notorious gambler, Big Jule, and Sawyer Latham’s by-the-book police Lt. Brannigan provides a nice comedic contrast.

Visually, the show pops with Jim Manning’s versatile, Old Hollywood-style set design. You know those big mid-centry musical movies…1955’s GUYS AND DOLLS being one of them, where between scenes there’s a montage of neon signs and marquees? Well, to my estimation, Manning pays perfect homage with areas of the immersive stage lit with such signage. With minimal set pieces…literally a few church pews, a newspaper box and the occasional chair, Manning’s set design seemlessly transforms from mission hall to Havana nightclub to big city alleyways with fluid ingenuity. Enhancing the show’s visual bliss, Melissa Durmon’s vibrant, mid-century-perfect costumes are a feast of pinstripes, sequins, and Salvation Army dress blues…well, reds. Kelly Scheuman’s lighting design and Jonah Burch‘s sound design ensure that every peak, from solo moments to ensemble showstoppers, hits just right.

With Scott Brons providing skillful musical direction, the band (Brons on keyboard, Max Dvorin and Gus Arnold on reeds, trumpeter Sam Merrill, trombonist Desmond Ng, Dan Kozlowski on drums and bassist Andy Byrd) keeps the tempo swinging and the harmonies lush throughout.

As FTF’s production’s full title suggests, GUYS AND DOLLS: AN IMMERSIVE THEATRICAL EXPERIENCE is being touted as an immersive night of theatre. To that end, patrons are encouraged to arrive an hour before curtain to take part in a little pre-show antics that include a backstage peek where the Hot Box girls ready themselves, a couple of casino tables for a quick roll of the dice and a chance for luck and some in-character interaction with the cast. As for the immersive aspect of the show itself, translation: think in-the-round or blackbox, as the creative team has cleverly included VIP seating (two pink velveteen banquettes and cocktail tables), as well as a Velvet Rope seating option and a Saints section (church pews) in addition to their general admission seating to up the ante for audience members, and to bring them close to the action. Big laughs, big voices, and a whole lot of Broadway-worthy brass make this a sure bet for summer theatergoers.

Franklin Theatrical Fellowship‘s GUYS AND DOLLS: AN IMMERSIVE THEATRICAL EXPERIENCE continues at Studio 615 (272 Broadmoor Drive) through Sunday, July 20. To witness part of the pre-show immersive aspect, plan on arriving at 6:30pm for the Thursday, Friday and Saturday evening shows and at 1:30pm for the Saturday and Sunday matinee performances. Further adding to the immersive vibe of secretive gambling night, ticket prices are as follows: High Rollers Velvet Booth Section: $90.62, High Rollers Velvet Rope Section: $85.42, Holy Rollers Velvet Pew Section $80.22 and General Admission: $64.62. All ticket prices mentioned include fees. CLICK HERE for tickets or more information.
Following GUYS AND DOLLS, FTF will present THE DIARY OF ANNE FRANK, onstage at FSD PERFORMING ARTS CENTER in Franklin, TN from November 29-December 7. 2025. To keep up with what’s next for FTF, CLICK HERE or follow them on Facebook and Instagram.
As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, follow us on Facebook, Insta and X.

 

Theatre Review: Playwright William Inge’s ‘Bus Stop’ at The Keeton proves the wheels of love and longing still turn some 68 years after show’s Broadway debut

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Before checking out The Keeton’s presentation of William Inge’s 1955 play, Bus Stop (on stage at The Keeton Dinner Theatre/108 Donelson Pike, Nashville, TN 37214 thru Sunday, October 27), I revisited the now-famous 1956 film adaptation starring Marilyn Monroe, as well as the early-80s HBO teleplay featuring Superman’s Lois Lane, actress Margo Kidder to refamiliarize myself with the piece. I was immediately struck with how different the play version is from the film. I also couldn’t help but notice some of the action of the play seems a bit dated, so I was curious how Erin Grace Bailey, who’s directing the show for The Keeton would approach the material.

The play takes place in the mid-1950s in Kansas on a wintery night where we find a quartet of travelers and their bus driver unexpectedly snowed in at Grace’s Diner, a little roadside eatery that also serves as a regular stop of passing busses routes. The bus driver, a jovial fellow with a strictly ‘passing through’ relationship with the diner owner, brings his passengers into the diner for shelter from the storm. The passengers include a mouthy young cowboy, his longtime friend and right-hand-man, a nightclub singer and an alcoholic, womanizing professor. The diner is operated by a middle-aged woman and her teenage waitress. Rounding out the cast of characters is the local sheriff, who frequents the diner most days.

As the play began, my mid-century-loving heart warmed at the sight of the set designed by Kevin Driver, The Keeton’s resident technical director. Driver has outdone himself with Grace’s Diner. On occasion, The Keeton sets are a bit rudimentary and one-dimensional, but not this time. From the lunch counter and barstools to the wood-burning stove and period-appropriate wall phone and soda pop signs…perfection. Heck, there’s a magazine rack boasting cover images of some of the 1950s biggest names, including Elizabeth Taylor, Jackie Gleason, Lucille Ball and Desi Arnaz (you know I loved that). There’s even a clever wink to the aforementioned Monroe on the cover of Life Magazine…all recreated by The Keeton’s go-to graphic designer, Danny Proctor.

Gotta acknowledge the incidental music played before the show and during intermission. I’m almost certain I heard a little Doris Day and Ella Fitzgerald among the period-perfect tunes. Speaking of, if you’re looking for a recreation of Marilyn Monroe’s infamous interpretation of That Old Black Magic, sad to say, you’re out of luck. For some reason, the show’s nightclub singer performs Stars Fell on Alabama instead. I disappointment for yours truly, for That Old Black Magic is even what the playwright mentions in the original script and in every production of Bus Stop that I’ve seen through the years, it’s always a memorable moment in the show.

Nonetheless, when the action starts, the audience meets Jena Salb as Grace Hoylard, the diner owner and Hazely Sanderson as Elma Duckworth, her high school-aged waitress. Salb’s Grace, like the set, is right out of the 50s, all cigarettes and sass. The kind of role actresses like Mary Wickes or Ann Southern played. OK, so Salb’s Grace isn’t all sass..the show contains scenes that show kinder side of Grace, in particular with her interactions and caring for young Elma. As for Elma, Sanderson’s portrayal is sweet, curious and a bit naive. A recent high school graduate herself, this role marks Sanderson’s first post-high school production. Mark my words, Nashville, keep an eye on this talented young woman.

Cherie as played by Fiona Barrett’s, presents the character as a self-described chanteuse who’s been kidnapped by a brutish, but childish cowboy. Cherie’s entrance is worth the wait, after all, she’s taking on the role that Marilyn made famous, right? Comparisons stop right there. Yes, the actress is wearing a platinum blonde wig in an effort to evoke memories of Marilyn, but Barrett, as directed by Bailey, quickly lets the audience know that she’s making Cherie her own. Where Marilyn employed her usual breathy baby talk as Cherie, Barrett is unapologetically loud. She’s funny when the script calls for it, but also equally real and emotional at times, and makes no secret of her initial disdain for the cowboy. Now if they could just set the body makeup so the actress’s tatted and makeup-covered arms didn’t smear concealer all over her lilac dress, I could have focused more on her performance. But at least they attempted to cover her ink, which is more than was done at The Keeton’s recent Footloose run. I’d never seen so many high school kids with tats, but I digress.

About that dress, though…Kudos to the show’s costumer, Donna Driver, who also happens to be The Keeton’s Managing Administrator. Cherie’s lilac dress and floral coat, not to mention her later literal and figural red hot chanteuse costume, and other aspects of the show’s wardrobe, are indeed spot on. I loved the bold choice of Virgil’s western shirt and Bo’s fringe jacket, and the diner uniforms. It’s the attention to details like this that can easily make or break the believability of a period piece and Driver’s eye for detail is evident herein.

Following a brief, but notable role as one of the hoodlum friends in The Keeton’s recent Footloose, Josh Mertz shines as the 21-year-old rodeo rider, Bo Decker. Presenting Bo as a spoiled-rotten brat of a man child, his tantrums almost become a bit too much, but thankfully, the director has reigned him in just enough. He’s another younger actor that I’m sure we’ll be seeing more of.

Rich Moses as local sheriff, Will Masters is just about as good as it gets. His rough and tumble attitude when dealing with Bo’s outrageousness, nicely balanced with a bit of Will’s more tender side when consoling Cherie. Strength and compassion, Moses’ Will possesses both. When we chatted last week for my Rapid Fire 20Q, I mentioned that Claude Akins had played the role of Will in the 1982 teleplay and funnily enough, Moses admitted he’d been though of Akins’ Sheriff Lobo from the BJ and the Bear sitcom…and it showed.

Dean Bratton, a relative newcomer to the Nashville theatre scene, is enjoyable as Virgil, Bo’s friend and frequent voice of reason. If Jiminey Cricket were a looming presence of a man, he’d be Bratton’s Virgil. He too gets a tender moment with Cherie, as well as a much-deserved what’s what chat with Bo, allowing Bratton to showcase a bit of range as a performer.

Mick Grayson, who’s had a very busy few months, having recently appeared in local productions of Sordid Lives, An Ideal Husband and Aunt Sally’s Wild Ride, while undeniably charming and likable, is unfortunately miscast as Dr, Gerald Lyman. Not even the old high school drama department trick of spraying a little grey in his hair can convince the audience he’s the thrice married lothario he’s portraying. Nonetheless, Grayson steps up as much as he can and delivers an enjoyable drunken reenactment of Shakespeare’s Romeo and Juliet’s balcony scene alongside Dr. Lyman’s latest attraction, Sanderson’s Elma.

Rounding out the cast is Eric Crawford as Carl, the bus driver. Crawford’s Carl is hilarious. His flirtations with Salb’s Grace, including some “did they really just say that?” lines that must have shocked some mid-50s audiences back in the day, bring a light-hearted tone.

When I interviewed the cast before the show opened last week, I noted that Bus Stop is a slice of life play. More accurately, it’s a slice of nostalgia play. Are there plot elements that today’s audience might find cringe-worthy as the kids of 2020 might have said? Yes. After all, the set up for the entire show is Cherie runs off the bus as soon as it stops, with suitcase in hand, in hopes of escaping Bo, who forcibly carried her onto the bus and told her he was taking her to Wyoming to marry him…and this after just one night together. On that subject, I love that the playwright, even back in 1955, allowed Cherie to own her sex and sexuality. When it’s revealed that Cherie has had numerous suitors, while Bo’s actions could be attributed to the fact that Cherie was his first, there’s a sweet line in the show to the effect that Cherie’s experiences balance out Bo’s lack thereof.

Rest assured director Bailey successfully maneuvers the story—occasional antiquated ideals et al—thanks to her talented cast, presenting Inge’s Bus Stop as a look back at theatre when show’s depended on heart, not special effects. All in all, The Keeton’s Bus Stop is definitely a worth a visit.

The Keeton’s Bus Stop continues through October 27. Dinner and Show tickets are $40 for Adults and $35 for Children. Show Only tickets are $30. For evening performances, doors open at 5:45p.m. with dinner served at 6p.m. and the show beginning at 7:30p.m. Shows with a Thursday show only performance open doors at 6:30p.m. with show at 7p.m. Sunday matinee hours are as follows: doors at 12:45p.m./lunch at 1p.m. and show at 2p.m. CLICK HERE to purchase tickets. As always, The Keeton coordinates their dinner menu to compliment the show. For Bus Stop, the pre-show meal will consist of a Dinner Salad, Country Fried Steak with Pepper Gravy served with sides of Mashed Potatoes, Green Beans and Roll with Cookies and Cream Pie for dessert. 

Next up at The Keeton is A Christmas Story: The Musical, with performances December 5-22.  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!

Theatre Review: Robert Coles’ ‘Lithium & Xanax and All of My Friends’ is Just What the Doctor Ordered; World Premiere Performances Continue Through October 12 at Darkhorse Theater

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Cast members of ‘Lithium & Xanax & All of My Friends (photos by Rick Malkin/Courtesy Brand Spakin’ New Theatre)

Over the weekend, Lithium & Xanax and All of My Friends, the latest dramatic work by Nashville-based playwright, Robert Coles, enjoyed its World Premiere as presented by Brand Spakin’ New Theater. Under the direction of former Nashvillian, Bradley Moore, who’s been back in Music City the last couple months to helm the project, the play continues  at Darkhorse Theater (4610 Charlotte Ave., Nashville, TN 37209) with performances October 8, 10, 11 & 12.

Having recently attended a performance of Coles’ sweet and funny southern comedy, Aunt Sally’s Wild Ride, but hearing that this one sets a completely different tone, I wasn’t sure what to expect. It’s always exciting to see a new work, but having reviewed as many shows as I have over the years, when there’s the added bonus of getting the opportunity to see actors with whom I’m not all that familar, there’s opportunity for an even more exhilerating night of theatre, and this show delivers on all counts.  Lithium & Xanax and All of My Friends presents Adam (Payton Justice) a young wannabe novelist who yearns to finish his long-awaited first book while struggling with internal demons. On the night Adam has determined he will finish things once and for all, he’s visited by a few not always welcomed friends, who inevitably stir memories and feelings of Adam’s often-traumatic past. Justice presents Adam in such a relatable state. You don’t have to have shared traumas with the character, but if you have, get ready to swallow that bitter pill once more. Justice’s portrayal is so emotionally charged, that one can’t help but feel what he’s feeling.

Adam’s friends are also perfectly prescribed, played by a cast of talented actors as varied as the numerous medications Adam is currently taking to deal with the aforementioned traumas. During the course of the night’s action, his friends drop in one by one and offer equal doses of advice, criticism and encouragement on why he hasn’t finished his novel and how he might achieve his final act.

First up is Lee, as played by Sky Roberts. Lee has known Adam the longest, having first encountered the embattled playwright a few years prior to the action of the play when the two were first introduced while Adam was in hospital. As played by Roberts, Lee seems to balance out Adam’s more high-strung tendencies. He’s the perfect every friend, casual, supportive, but encouraging.

We next meet Brianca Renfro as Annie, who pops in with yoga matt in hand dressed like a reject from a hippie commune. Renfro’s Annie quickly encourages the boys to center themselves with a bit of meditation. Renfro’s zen-like performance is the ideal mix of stereotypical wellness-minded individuals, but played with a decidedly humorous wink.

By the time Adam’s friend Wil (Ezra High) appears, if the audience wasn’t clued into what’s going on, his lurking, silent, almost non-present presences will surely do the trick. Is he there? Is he not? Does it really matter? As written by the playwright, Coles, and expertly directed by Moore, High, without uttering one word for the first several minutes he is onstage, changes the mood of the show.

Just when things seem to even out, enter Remy (Andrew Hosale). Remy’s that one friend who’s loud, a bit obnoxious, energetic, but ultimately truthful. As Remy, Hosale’s high is addictive. With things seemingly on an upward swing, and Adam beginning to gain a little insight into his inability to follow through, why no bring his parents into the equation, right?

That said, Taryn Pray as Adam’s Mom is a blissful depiction of the universal Mom. Caring, intrusive, judgmental, unaware…all the things. In addition to playing Mom, Pray also appears throughout the piece in various other roles, none more enjoyable than during a trippy daydream/hallucination presented as some sort of warped game show. Pray taking on the role of the emcee and each of Adam’s friends offering a bit of comedic lightheartedness as they rapid-fire repeat certain side effects of their relationship with Adam.

Coles’ abilities as a playwright are most beautifully exhibited in two vastly different scenes. At one point in the play, Adam is confronted by his friends and forced to face his demons head-on. Under Moore’s direction, this scene is almost cinematic. Justice’s Adam downstage, is surrounded by the cast in a circle around him. If this were a film, you could totally visualize Adam center screen with the friends literally circling around him. Blissfully manic.

On the other end of that spectrum, there’s two scenes involving Adam and Mom that are ‘eye sweat’ inducing. One, when the duo are saying goodbye to Adam’s dying father, the other, an unexpected sweet musical moment between Mom and Adam. Even though the rest of the cast is still on stage during these intimate moments, thanks to Moore’s direction and some beautiful work by the show’s lighting designer, Robert Allen, the intimacy of these very personal moments shared between mother and son play as though they’re the only ones in the room. So intimate in fact that for those moments I dare say each audience member felt as though they were the only witness.

Speaking of the talented crew Moore assembled for the project, Jaymes Campbell’s set design, a slightly run-down city apartment feels inviting and comfortable, but also a bit serile and barely lived-in. Campbell’s attention to detail, seen in the fact that when the refrigerator is opened, there’s a glowing ominous hue to the bulb inside. That, plus the fact that the microwave actually works and the coffee actually brews, speak volumes to Campbell’s craft.

Moore himself provided the props peppered throughout the set, and he did so with purpose, for upon closer examination, there are visual clues hidden among the artwork on the walls in Adams apartment. The same can be said for Moore’s sound design. From the first beep of the microwave to the final beat of the father’s life support, that tone becomes its own character.

Costume designer Cat Eberwine’s wardrobe choice are without fault, subtly but sublimely capturing the recent past during which the play is set, while simultaneously mirroring the characteristics of each of Adam’s friends…Lee is dress all comfy cosy (loved the Evanescence visual cue by way of his 2021 concert t), while Annie is boho from head to toe. Wil’s attire is a bit nondescript while Remy’s is tad edgy. Even Adam and Mom’s wardrobe choices reflect their personalities. It’s a true joy as an audience member, and a self-admitted theatre nerd when such care is evident in the smallest of details.

All in all, Lithium & Xanax and All of My Friends is an unexpected whirlwind of emotion and a journey all too many can relate to. Brand Spankin’ New Theatre’s World Premiere production of Lithium & Xanax and All of My Friends continues October 8 thru 12 at the Darkhorse Theatre (4610 Charlotte Ave, Nashville, TN 37209). Tickets are $20 and can be purchased HERE. Remaining run performance schedule is as follows: Tuesday, October 8 at 7:30p.m., Thursday, October 10 at 7:30p.m. (Thursday’s performances offers a special 2-for-1 ticket price), and Friday & Saturday, October 11 & 12 at 7:30p.m. CLICK HERE for more info. Check out Brand Spankin’ New Theatre‘s Official Site HERE 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, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter. Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Theatre Review: The Cast of ‘Clue’…in Jackson Hall…with razor-sharp dialogue and killer comedic timing; National Tour based on mystery board game and beloved 80s farce in Nashville at TPAC thru Sunday, September 15

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Whether or not you’ve played the board game Clue (Cluedo if you’re from across the pond), or have seen the 1985 star-studded movie adaptation, or even the lesser-known more recent teen-drama miniseries reboot, the stage adaptation, Clue Live on Stage, currently on a National Tour and playing Music City at TPAC’s Jackson Hall thru Sunday, September 15, is just plain fun. For clarity’s sake, it should be noted that this is the straight comedy play, not the poorly received 90s musical adaptation.

Taking a cue from Clue’s own history, the play takes place in the 1950s. Appropriate, considering the original board game first appeared in shops in the UK in 1949 by British game manufacturer, Waddingtons, with a US launch by Parker Brothers following. That bit of Parker Brothers knowledge will serve you well when you see the show, as a bit of clever dialogue makes reference to the famed siblings.

At the time of the game’s initial release, murder mystery writer Dame Agatha Christie’s fame was at its height, so a board game in which the players assume the roles of a group of people who’s seemingly only shared experience is being at the wrong place at the wrong time when a murder is committed seemed perfect fodder for a new board game. The movie, and now the stage version, go one step further, making mention of the Red Scare of the time and cleverly tying all the players into a political web of lies and deceit. Sound’s oddly current, right?  Not to worry, there’s only a jab or two at modern day politics.

All of the action of the play takes place at Boddy Manor, a stately New England mansion on a dark and stormy night, where six supposed strangers are summoned via mysterious letters inviting each of them to attend a dinner party, under assumed names. On the subject of Body Manor, Set Designer Lee Savage’s Boddy Manor is the stuff of which haunted mansions are made. Again, those familiar with the game will delight as the rooms of the mansion are explored as memories of commercials for the board game reenter their collective subconscious. I remember many a Saturday morning watching my favorite cartoons and seeing Clue commercials in which players attempting to solve the mystery would declare their guesses, “Mr. Green…in the study…with a knife” or “Mrs. Peacock…in the library…with a rope” and so on.

Where character portrayal is concerned, Clue could be considered a bit of a theatrical anomaly. Typically actors stepping into roles made famous by others are charged with making the character their own, but Clue, a true farce, almost demands that the company present the characters pretty much as those who portrayed the roles in the film had done. That’s not to discredit the actors in any way, but to thank them for brilliantly recreating moments and actions of the film to glorious life live on stage.

As the curtain rose at Jackson Hall Opening Night, Elisabeth Yancy’s Yvette, the French Maid was the first of the familiar characters to be seen as she stood centerstage drying a cocktail glass with a white cloth. Why was such a mundane task noticeable, you might ask. Because she was doing so in perfect syncopated rhythm to the mood-setting music. It’s little details like this peppered throughout the show that help to make Clue such an enjoyable night of theatre.

Next the audience meets Wadsworth, the Butler, played opening night by James Taylor Odom (filling in for a mysteriously  absent Mark Price). Of course Tim Curry played Wadsworth in the film and in doing so, created an iconic interpretation of the character. To his credit, Odom stepped up to the plate during his performance and played Wadsworth with the perfect amount of cheek, sarcasm and charm.

The manor staff is rounded out by Mariah Burks as The Cook. Sassy and indifferent towards a former employer (remember, earlier I said they were all seemingly strangers…well, they’re not). Burks’ Cook, though her time on stage is limited, makes the most of her scenes. Spoiler Alert: Even in mortem, Burks’ Cook continues to provide laughs by way of being anything but a dead weight. Added Bonus: Burks reappears later in the play in another of the most memorable moments, but I’ll not spoil that.

Then there’s the evening’s host, the aptronymically named Mr. Boddy played by Alex Syiek. Brooding and thuggish, it makes sense that Mr. Boddy would become the night’s first victim…or does he?

As for the suspects, Christina Anthony’s Miss Scarlet is among my favorites. A wonderful departure from Lesley Ann Warren’s Miss Scarlet in the film, I love that every time she utters a double-entendre line that could be considered cringe by today’s easily offended audience, she breaks the fourth wall, winces and smiles as through she’s almost embarrassed at how silly what she’s just said is. Scarlet is the perfect color, as her performance is red hot!

John Treacy Egan as Colonel Mustard is as perfectly bumbling as Martin Mull was in the movie. Watch closely kids. While the entire cast is running throughout the mansion trying to find particular pieces of evidence that incriminates them all, Egan holds up a larger than life map of the join that will delight board game nerds. I may or may not have laughed a little too loud at that moment.

Joanna Glushak’s Mrs. Peacock is a lovely nod to the slightly ditzy way the character was played in the film by Eileen Brennan. Professor Plum, played by Jonathan Spivey, seems a bit more nefarious than Christopher Lloyd’s portrayed him back in 1985. This slightly darker element works well in separating Plum from the other characters.

John Shartzer’s Mr. Green (the Michael McKean role in the film) is the scene stealer of the show. With precise comedic timing, hilariously deadpan reactions and borderline acrobatic slapstick movement, Shartzer is suspect Number 1 is so many ways.

If any character besides Wadsworth is more closely associated with the film version, it’s Madeline Kahn’s Mrs. White. To that end, Tari Kelly takes full ownership of the role for the current stage presentation, and she does so with hilarious result. Near show’s end, when she stepped forward and uttered THE lines…you know the ones…”Flames! Flames on the side of my face!”, yours truly may or may not have gotten a little verklempt while spontaneously applauding. I gotta be honest, I felt Nashville’s Opening Night crowd didn’t appreciate this great moment in theatre as much as I did.

And can we just talk about the last few minutes of the show…again, with a huge ole wink to the film, in particular the multiple alternate ending scenarios ear the close of the show. For context, at the time of the film’s release, three prints of the film were distributed in each major city with three distinct endings naming a different murderer. So, you’d only know the three different endings IF you saw the movie more than once, and in a different theatre each time, each time. Genius marketing and a guaranteed box office boost, right? But I digress…at play’s end, Wadsworth and company perform a comedic rapid rewind again and again when each of the suspects takes the spotlight as various scenarios of who did what to whom and where play out in hilarious succession. WIth each retelling, the action gets more frantic and the reenactments more delightfully raucous.

Clue Live on Stage! will play Nashville from September 10 thru September 15 at TPAC’s Jackson Hall. For Tickets or more info, CLICK HERE. Not in Music City? Clue continues its National Tour through Spring of 2025 with stops across the US. CLICK HERE for Clue’s current schedule. You can always follow Clue Live on Stage! by visiting their official site, or by following them on Facebook and Instagram.

Next up in TPAC’s 2024/2025 HCA TriStar Broadway Season, it’s Moulin Rouge! The Musical (on stage October 8-20). CLICK HERE for tickets. For further details on more entertainment headed to TPAC, CLICK HERE or follow TPAC on Instagram, X, YouTube and Facebook.

In preparation of attending Opening Night of Clue Live on Stage! In Nashville, I did a little research to refamiliarize myself. After all, it’s been 75 years since the board game was first introduced (I was NOT around for that by the way) and it’s been nearly 40 years since I first saw the movie (and YES, during its original theatrical release, I was among the many fans fell for the above-mentioned marketing gimmick and saw it three times in three different theaters. Simply because I did my research I’ll share the following tidbits:

  • Waddingtons produced the game in the UK, while the US version was initially distracted by Parker Brothers.
  • Both companies were purchased by Hasbro in the 1990s.
  • The original UK board game was named Cluedo, A combination of the English word ‘Clue’ and the Latin word ‘Ludo’ which means “I play”.
  • Ludo was also the name of an existing board game, but because American audiences wouldn’t be familiar, the game was simply called Clue for its American debut.
  • The original concept featured 10 characters…nine suspects and one victim. During development, Mr. Brown, Mr. Gold, Miss Grey and Mrs Silver were eliminated, while Nurse White and Colonel Yellow became Mrs. White and Colonel Mustard.
  • The UK version has Reverend Green while the US version has Mr. Green.
  • The concept board first featured 11 room. The Gun Room and The Cellar were eventually eliminated leaving The Library, The Kitchen, The Conservatory, The Lounge, The Billiards Room, The Hall, The Study, The Ballroom and The Dining Room.
  • Weapons initially included such things as syringe, bomb, walking stick, fireplace poker, axe and poison.
  • Over the years there have been more than a dozen versions of the board game.
  • TV commercials have featured everyone from Sherlock Holmes and Watson to an inept detective reminiscent of Inspector Clouseau from The Pink Panther films.
  • The 1985 film adaptation wasn’t exactly a box office hit, but did garner a cult following in later years.
  • Jonathan Lynn (who’d go on to direct My Cousin Vinnie), directed the feature film.
  • Lynn cowrote the screenplay with John Landis (among Landis’ accolades, he directed An American Werewolf in London, Trading places and Michael Jackson’s Thriller video).
  • The movie was produced by Debra Hill (best known for having co-produced the original Halloween).
  • As early as 2009, there’s been talk of a remake of the 1985 film.
  • The musical adaptation debuted in 1995 and was presented off-Broadway in 1997.
  • The musical version closed after 17 previews and 29 performances.
  • One favorable aspect of the musical involved a bit of interactive theatre, allowing the audience to proclaim the murderer.
  • In 2011, a mini-series based on Clue, and starring six teenage/twenty-somethings premiered on The Hub, a network joint venture between Harbro and Discovery Kids.
  • Original 1985 film screenplay co-writer Jonathan Lynn adapted the story for the stage in 2017.
  • The stage play premiered in 2017 at Bucks County Playhouse adapted by Hunter Foster, whose sister is Sutton Foster.
  • The stage play was further revised by Sandy Rustin, premiering in 2020.
  • The current national tour, directed by Casey Hushion began in 2024.

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

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

Theatre Review: 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!

 

 

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!