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Theatre Review: ‘Kiss Me, Kate’ onstage at Chaffin’s Barn through March 9, plus Valentine’s special

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Martha Wilkinson and Matthew Carlton star in Chaffin’s Barn’s “Kiss Me, Kate” (photos by Michael Scott Evans/courtesy Chaffin’s Barn Dinner Theatre)

In an era when the absurdity of misogyny is finally being examined and hopefully eliminated, Kiss Me, Kate, Cole Porter’s mid-century musical comedy play within a play take on William Shakespeare’s The Taming of the Shrew could be seen as an interesting choice for Nashville’s favorite dinner theatre, but under the carefully creative eye of director/choreographer Everett Tarlton, and with a talented cast helmed by the Nashville theatrical presence that is Martha Wilkinson, any misgivings are quickly put to rest, for neither director, Tarlton’s nor star, Wilkinson’s talents can—or should—be tamed.

Katie Bruno as Hattie

The scene is set with the show’s literal and figurative opening number Another Op’nin’, Another Show in which members of a theatrical troupe ready themselves for exactly that, all to the playful and oddly rhyming lyrics. Only Cole Porter could convince an audience that Baltimore is pronounced (at least in song) as Baltimo, because that obviously rhymes with show. From the start, Tarlton showcases his energetic cast with Katie Bruno front and center as Hattie on this virtual all-in number. It should be noted that in spite of Chaffin’s relatively small center stage, surrounded on all four sides by tables and tables of patrons, Tarlton’s direction and choreography fill every available square inch of that stage with remarkably succinct and carefully choreographed movement. Never once does it seem like the actors are crowed or that they’re moving to avoid collision. It’s all done purposely and perfectly.

Mallory Mundy as Lois

The next number, Why Can’t You Behave serves to introduce the show’s secondary plot as ingenue Lois Lane, played by the simply stunning and ridiculously effervescent Mallory Mundy, chastises and teases her ne’er do-well gambling beau, Bill Calhoun, played by Chaffin’s newcomer, Caleb Pless. Mundy is one of those Nashville theatre actors I’ve oft referred to as one of my theatre crushes, and crush it she does. She plays Lois with the perfect combination of ditz and wits. Not being familiar with Pless’ stage work prior to this role, He definitely holds his own in scenes with Mundy and when given the opportunity to showcase his talents (read on, it’s coming) he does do with skills and ease that are sure to make him a familiar face at Chaffin’s going forward.

Caleb Pless as Bill

It’s not until the show’s third number, Wunderbar that we meet the aforementioned Wilkinson as Lilli Vanessi as she makes a divalicious entrance to join her sparing partner, Matthew Carlton as her ex-husband, Fred Graham. The chemistry between Wilkinson and Carlton is no accident. When I spoke with the two as part of an upcoming Rapid Fire 20 Q, they both revealed that this isn’t the first time they’ve played these roles, having starred in a production of Kiss Me, Kate on the same Chaffin’s stage twenty-six years ago. Over the years, the two have shared many stages together, and developed a friendship. All that history, even unspoken, is evident in the playfulness in which they address these two roles.

Martha Wilkinson and Matthew Carlton

Interspersed between the now-familiar Porter soundtrack, dialogue reveals the show’s full plot. Based on the real-life on-and-off-stage tumultuous relationship between director/actor Alfred Lunt and his actress wife, Lynn Fontanne, Kiss Me, Kate tells the story of Lilli Vanessi, a famous movie star who has returned to the stage to star in a musical production of Shakespeare’s The Taming of the Shrew, which her ex, Fred (Carlton) is not only producing and directing, but also co-starring alongside her as Petrucio to her Katherine. Further complicating things, a couple of heavies arrive to collect on Bill’s gambling debt, but think Fred is the one they’re looking for. As if that weren’t enough, Lilli reveals she’s intent on marrying Harrison Howell, a wealthy war hero. Oh, and did I mention Lilli accidentally receives opening night flowers from Fred? Flowers intended for Lois.

Wilkinson as Lilli Vanessi

Back to the musical numbers…When Wilkinson belts out So In Love, one of my favorite Cole Porter tunes, she does so with a near-operatic style that’s a subtle reminder of the originals of the Broadway musicals, for Broadway was originally indeed a more accessible, popular music-infused modernization of opera. On the subject of subtle elements within Chaffin’s Kate. Whether by happy accident, or clever purpose-filled design, Wilkinson seems to be paying homage to two Hollywood icons connected to Kate and The Shrew, as she sports two distinctive looks with her character, Lilli and the character of Katherine in the show wishing the show. When Wilkinson—who in real life wears her hair in a blonde pixie hairstyle—appears as mega-movie star Lilli Vanessi, she sports a raven-hued pageboy wig with wavy side-swept bangs reminiscent of Elizabeth Taylor, who starred in 1967’s film adaptation of The Taming of the Shrew. Meanwhile, when on stage as Katherine the titular character of the play within a play, she’s seen in a long curly red wig, a la 1953’s Kiss Me, Kate’s Kathryn Grayson.

Wilkinson as Lilli as Katherine

While We Open In Venice doesn’t exactly have the same oomph as some of the show’s more familiar tunes, it does serve to illustrate the tedium of going on the road with a touring company. The audience is next treated once again to the fireball that is Mundy, this time as her Shrew character, Bianca, Katherine’s younger, less shrewish sister, as she weighs her marital options with Lucentio (Pless), Gremio (Christian Redden) and Hortensio (Curtis Reed) with the fun and decidedly mid-century Tom, Dick or Harry.

Carlton’s rich vocals shine in I’ve Come to Wive it Wealthily in Padua, a perfectly Shakespearean sing-songy number with the male ensemble. Every time I hear this song, I can’t help but think Monty Python must have been inspired by it as it is so in the Spamalot wheelhouse. With Carlton at the helm, it’s an example of talent over content as his performance gives the silly song an unexpected air of sophistication with a knowing wink.

Mallory Mundy and Timothy Fudge as Bianca and Baptista

On the subject of the show’s Shakespearean tones, Timothy Orr Fudge plays Henry who, in turn plays Baptista, Katherine and Bianca’s father. Aside from Carlton’s Petrucio, Fudge’s Baptista performs the bulk of the Shakespearean dialogue and though his stage-time is somewhat limited, he manages to steal the spotlight from Carlton, Wilkinson and the rest with his enjoyably animated reactions and expressions. A thirty year veteran of the Nashville stage, Fudge is the joy of acting personified.

Back to Wilkinson for I Hate Men, another highpoint of the show, the soundtrack and Wilkinson’s performance, for you know the words she’s singing just aren’t true. To quote Shakespeare, “The lady doth protest too much, methinks.” For as much as she alleges her distain for the supposed stronger sex in this Porter classic, she does so with a wink and bravado that tells another tale. It was at this point in the show that I realized I could just sit and listen to Wilkinson belt out show tune after show tune and be perfectly content.

Matthew Carlton as Petrucio

Soon enough, Carlton’s Petrucio attempts to court Katherine during Were Thine That Special Face…until he discovers Lilli’s has read the note attached to the flowers she intercepted that were intended for Lois. What ensues is likely the most famous scene in the entire show, especially the 1953 film adaptation, as Fred/Petrucio attempts to stay in character and in the moment of wooing/taming Lilli/Katherine while she breaks her on-stage character, becoming more defiant that ever. Since its debut performance and through the years, this scene traditionally ends with Petrucio taking Katherine over his knee and smacking her backside as if to punish her for her defiance. It helps to keep in mind the time in which Porter’s work is set and first appeared on stage, Kiss Me, Kate having debuted on Broadway in 1948. The film adaptation premiering in 1953, by which time, millions of TV viewers were tuning in week after week to see Ricky Ricardo attempt to tame his scheming wife, Lucy, often resorting to turning her over his knee and giving her a spanking. To Tarlton’s credit, the infamous Kiss Me, Kate spanking scene between strong-willed Katherine and Petrucio is played off-stage, adding doubt as to exactly who is on the receiving end of the taming.

The first act draws to a close with the title tune, another all-in as Katherine resists both the urge to continue fighting, as well as the urge to sit, thanks to the off-stage reprimand she just received. Never intended to be taken too seriously, an certainly not to promote or glorify domestic discourse, the couple eventually, albeit still unwillingly embrace at Act’s end.

Members of the ensemble heat up the stage with “Too Darn Hot”

Tarlton’s choreo skills, and the dance talents of his ensemble start off Act 2 with the appropriately titled Too Darn Hot, another of my favorite Porter tunes, it’s also another prime example of Tarlton knowing exactly how to utilize and maximize the space and those who inhabit it. Reed, Mundy, Christen Hellman and other members of the company definitely bring the heat to this seductively sassy number.

Back to the Shrew musical, Petrucio laments the coming loss of his bachelor life with Where is the Life That Late I Led? This scene seems to also indicate that Fred is mourning the loss of his life with Lilli as offstage, Lilli’s much talked about, but heretofore unseen finance, Harrison Howell (James Rudolph) shows up looking for Lilli and ready to take her to be his wife.

Mallory Munday as Lois

Mundy’s Lois goes from the heat of Too Darn Hot to the flirtatious cool-down of Always True to You in My Fashion as she attempts to explain away her burgeoning friendship with Fred to a rightly jealous Bill.

The Porter hits keep coming as Wilkinson and Rudolph duet on the torchy testament From This Moment On. Then Pless gets his moment leading the ensemble in Bianca, a lovelorn ballad extolling his love for her, in spite of his reservations…and yes, it includes the lyrics “I’d gladly give up coffee for Sanka, even Sanka, Bianca for you”. Again, in Cole Porter’s world, anything can rhyme if you try hard enough. The number features more fabulous Tarlton choreography, fabulously performed by Pless and company.

Of course lyrics aren’t the only element of these tunes that make them decidedly Cole Porter….just as proficient in composition as he was in word-play, the melodies of Porter’s songs are a force unto themselves. In the masterfully capable hands of music director Rollie Mains, who is also on-hand playing keys, alongside Randy Craft, with Dan Kozlowski on drums, Michael Meadows on bass and Raymond Ridley on woodwinds, the music accompaniment in Kiss Me, Kate is heavenly.

As Gangsters, Sawyer Wallace and Austin Olive attempt to rough up Matthew Carlton’s Fred

Speaking of company members, Austin Olive and Sawyer Wallace, who play the aforementioned heavies who’ve come to collect Bill’s gambling debt, prove their comedic acumen through the play. Whether doing their toothpick-chewing, pistol waving stereotypical best as mobsters, or when forced to become part of the Shrew cast in order to keep an eye on their target, they’re hilarious. Never more so that near the end of the show as they perform the seemingly never-ending Brush Up Your Shakespeare. Of course all’s well that ends well…well, in a Cole Porter adaptation of Shakespeare, at any rate, and by show’s end Fred does indeed get that kiss.

Chaffin’s Barn Dinner Theatre’s presentation of Kiss Me, Kate continues with performances through March 9. Thursday matinees are at 12 noon (seating and box lunch service begins at 11a.m. Thursday-Saturday evening performances are at 7:30 p.m. (doors open at 5:30 with optional dinner service until 7 p.m.) During the run of the show, there are also special performances at 2 p.m. on Sunday, February 24 (doors at 12 noon, meal until 1:30), Tuesday night, February 26 (following the regular nightly schedule) and at noon on Wednesday, February 27 (same times as Thursday matinees). Tickets for Thursday matinee performances are $19 for show only, or $27.50 for show and a box lunch option. Evening performances are $13 for Children 12 and under, $20 for Students and $35 for Adults. For an additional, but minimal fee, during evening performances, Chaffin’s now offers a select a la carte menu of small plate items as well as entrée, sides, dessert and drink options. CLICK HERE to purchase tickets, or for more information.

On Thursday, February 14, Chaffin’s is offering a Valentine’s Special that will include the show, dinner for two, a bottle of champaign, a rose for the ladies and chances to win prizes all for $150 per couple ($185 if you’d like to be seated at a private table for two). CLICK HERE to purchase Valentine’s Day tickets.

On March 7, the noon matinee will be presented accompanied by signing for the deaf and hearing impaired. CLICK HERE to purchase tickets to this special performance.

As mentioned above, be sure and check back for my upcoming Rapid Fire 20 Q with members of the cast of Chaffin’s Kiss Me, Kate. In the meantime, keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Theatre Review: Gloria and Emilio Estefan musical ‘On Your Feet’ at TPAC thru Sunday

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On Your Feet opened the Nashville leg of its current National Tour on Tuesday, January 15 at TPAC’s Jackson Hall. The high-octane biographical jukebox musical—whose subheading is The Emilio and Gloria Estefan Broadway Musical—continues in Nashville with performances through Sunday, January 20.

Directed by Jerry Mitchell, On Your Feet begins even before the curtain rises, giving the feel of a attending an electrifying concert full of laser lights swirling, spotlights bouncing and the familiar beat of Gloria Estefan’s 1987 mega-hit, Rhythm is Gonna Get You, informing the audience of just that. With a story that’s true, albeit conveniently told through a slightly contrived book by Alexander Dinelaris, it’s the soundtrack of hit after hit after hit produced and recorded originally by Gloria, her husband Emilio Estefan and The Miami Sound Machine that’s the guiding force behind this musical extravaganza.

“On Your Feet” stars Christie Prades and Eddie Noel flanked by young co-stars Ana-Sofia Rodriguez and Jeanpaul Medina Solano (Image via prpop.org)

Christie Prades stars as Gloria, and, as of Tuesday’s Nashville debut, co-stars Eddie Noel as Emilio. Noel having previously been featured in the show as Gloria’s father, Jose Fajardo. Prior to headlining the current touring company, Prades was part of the show’s Broadway run as understudy for the lead and a member of the swing cast. In the spotlight, Prades not only embodies the physicality of the real Gloria Estefan, but she also perfectly matches the seven-time Grammy-winner’s deeply soulful vocal skills and that unmistakable way the beloved singer often switches octaves within a single note. As for her newest co-star, Noel’s handsome features are only surpassed by the equally impressive richness of his vocals, making the audiences quickly forget that Nashville marks his debut performance as the male lead.

Other stand-out performances amongst the cast include Nancy Ticotin as Gloria’s mother and Alma Cuervo as Consuelo, Gloria’s grandmother. Cuervo, who originated the role of Gloria’s grandmother when the show debuted on Broadway steals every single moment she’s onstage.

Speaking of scene-stealers, the younger members of the cast include Jeanpaul Medina Solano and Jordan Vergara sharing responsibilities as Young Emilio (and various other young boys throughout the show) and Ana-Sofia Rodriguez and Carmen Sanchez alternating as Little Gloria.

While the story of On Your Feet is a bit predictable, especially for anyone who grew up in the era of Miami Sound Machine and the rise of Gloria Estefan’s career from Latin sensation of cross-over legend, it’s absolutely the Rhythm that’s Gonna Get You. To that end, rather than musicians being hidden away in the orchestra pit, as is standard practice for a touring musical, On Your Feet showcases the musicians on stage and what a group of musicians they are!

This show band isn’t just any show band, for the National Tour of On Your Feet features multi-Grammy-winning musicians from actual Miami Sound Machine roster, including Music Director Clay Ostwald (keyboards), who is Assistant Music Director of Miami Sound Machine, Teddy Mulet (trombone), Mike Scaglione(reeds), Jorge Casas (bass), who is Music Director of Miami Sound Machine, and Edwin Bonilla (percussion). Other members of the orchestra include Emmanuel Schvartzman (Associate Music Director/keyboards), Jose Ruiz (trumpet), Stephen Flakus (guitar), Jean-Christophe Leroy(percussion) and Colin Taylor (drums), keyboard programmer Randy Cohen, associate keyboard programmers Jeremy King and Taylor Williams and music coordinator, Patrick Vaccariello.

As for the story itself, through flashback, On Your Feet takes the audience back to Gloria’s youth in Cuba singing and dancing for her beloved grandfather, we also see a scene in Vietnam where her father listens to a cassette recording of his daughter singing traditional Cuban songs while his fellow soldiers tease him that she should sing some Diana Ross next time. Gloria’s Tradición (a single from Gloria’s 1993 all-Spanish album) is featured during this sequence. As the story unfolds, we learn that her family fled to Miami as Batista was overthrown. Not spending too much time on Gloria’s youth in Miami, a clever scene quickly ages Gloria into an adult pursuing her dreams of performing. This portion of the narrative reveals that as an adult, Gloria was responsible for the care of her invalid father and her younger sister while her mother provided for the family. Perhaps it was her mother’s own dashed dreams of stardom—we later learn that prior to feeling Cuba she was on the verge of signing a Hollywood contract to provide the Spanish-language voiceover for Shirley Temple—or her mother’s unavoidable forced reality, whatever the cause, it’s quickly evident that Gloria’s mother isn’t 100% behind her daughter’s musical aspirations. Luckily for Gloria, her Grandmother felt differently and encouraged her. In a wink of dialogue between Gloria and her Grandmother, her abuela tells her she’d do Anything For You, nicely leading into Gloria performing a stripped-down version of the song.

Gloria quickly catches the eye of Emilio Estefan, who at the time was leader of the regionally popular Miami Latin Boys.  I See Your Smile and Here We Are nicely pair with the action of their budding romance.

Proving formulaic, the musical then switches gears to the typical girl meets boy scenario, even interjecting a few humorous jabs at Emilio’s accent reminiscent of quips frequently used strictly for laughs on I Love Lucy when Lucy would poke fun at Ricky’s heavy accent.

Dr. Beat, which cracked the Top 20 charts in nearly a dozen countries worldwide, cranks up the action and sets the pace for the rise of Gloria’s star.

One of the show’s most memorable moments comes at the end of Act 1 when, in an effort to self-promote, Gloria, Emilio and company play everything from Italian weddings and Jewish bar mitzvahs to Shriner’s conventions in Las Vegas. All set the the infectious blockbuster hit tune, Conga.

Act 2 kicks off with the high-energy Get on Your Feet and just as quickly gets to the drama of the story with strain between Gloria and her mother, and the inevitable retelling of the tragic bus accident that nearly caused Gloria’s life, ability to walk and her career. These plot lines are highlighted by musical interludes as varied as 1991’s Live for Loving You, Oye Mi Canto (from Gloria’s first solo project in 1990) and If I Never Get to Tell You, a song with lyrics by Gloria and music by her and Emilio’s daughter, Emily Estefan, that was written specifically for the musical.

An interesting choice to be sure, when Gloria is taken in for spinal surgery, the audience is privy to a strange dream-sequence akin to the oddly placed Dream Ballet from Oklahoma. Aesthetically beautiful and expertly danced by the ensemble, as choreographed by Sergio Trujillo, it’s just an odd moment in the show, especially at number’s end when Little Gloria joins her deceased relatives…perhaps a metaphor for Gloria’s growth an rebirth after the accident. Nonetheless, it’s just an odd moment.

Speaking of the show’s choreography, whether the sequences call for celebrating in the streets of Cuba, rehearsals for the up-and-coming Miami Sound Machine, full-on Concert scenes, or intimate nights between Gloria and Emilio, Trujillo and the show’s ensemble hit every mark. There’s even a scene in the second act where the ensemble, wearing wooden-heeled sandals perform a sort of tap dance to a traditional-sounding Cuban tune. Pure joy!

Thanks to a talented ensemble, scene-stealing supporting cast and leads who perfectly capture the passions and talents of Gloria and Emilio, as the National Touring company of On Your Feet continues its run in Music City and across the country, audiences are sure to heed the show’s title and get on their feet!

On Your Feet continues at TPAC’s Jackson Hall with performances Thursday, January 17-Sunday, January 20. Thursday evening’s performances begins at 7:30 p.m. Friday & Saturday evening curtain is at 8 p.m. Saturday matinee begins at 2 p.m. and on Sunday, January 20 there will be a 1:00 p.m. matinee and a final 6:30 p.m. performance. Tickets range in price from $50 to $95. Click Here to purchase tickets.

Following the Nashville dates, On Your Feet continues across the country with stops in Minneapolis, Oklahoma City, Memphis, Grand Rapids, Omaha, Dayton, Louisville, Cincinnati, Worchester, Hershey and Ft. Worth through April. For tickets or more information about the tour, CLICK HERE. You can also follow the tour on Facebook, Twitter and Instagram.

Next up at TPAC, as their Broadway series continues is the national tour of A Bronx Tale, on stage at Jackson Hall, February 12-17 CLICK HERE for tickets or more information. You can also discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

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

Theatre Review: ‘Peter Pan and Tinker Bell: A Pirate’s Christmas’ sprinkles a little fairy dust on the holiday season; continuing at TPAC’s Polk Theatre thru December 23

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Tegan Marie as Wendy, Diana DeGarmo as Tinker Bell, and Garrett Clayton as Peter Pan in “Peter Pan and Tinker Bell – A Pirate’s Christmas” at the Tennessee Performing Arts Center. (all photos by Derrick Minyard)

While the basic story might be familiar, Peter Pan and Tinker Bell: A Pirate’s Christmas, presented by Lythgoe Family Panto and currently playing Nashville at TPAC’s Polk Theatre, offers a whole new take on the classic. Interestingly, that new take is largely due a centuries old theatrical artform known as pantomime, or panto for short. When most Americans hear the word pantomime, thoughts of mimes with clown-white faces mimicking attempts of escaping non-existent boxes come to mind. While that is indeed a type of pantomime, this pantomime is much different.

With roots tracking back nearly as far as recorded time itself, panto—in the more modern sense—presents a familiar story, usually a favorite children’s fairy tale, but with comedy, music, encouraged audience interaction and just enough double-entendre to keep parents entertained as well.

Lythgoe Family Panto’s Kris Lythgoe has written a holiday version of the legendary tales of Peter Pan, Tinker Bell, Captain Hook and the Darling children, brothers Michael & John and sister, Wendy and set it all to tunes ranging from recent hits like Bruno Mars’ Uptown Funk and Rachel Platten’s Fight Song to modern classics like Blue Swede’s Hooked on a Feeling and The Village People’s In The Navy.

John O’Hurley as Captain Hook

What’s more, said chart-toppers are performed by a brilliant mix of talented performers that also run the gamut on the entertainment scale. Case in point, Captain Hook is played to the deliciously sinister tongue-in-cheek max by none other than John O’Hurley. From his memorable 90s gig as J. Peterman, Elaine’s boss at the outdoorsy clothing catalogue company on Seinfeld, and his turn as lawyer Billy Flynn on Broadway and in a more recent national tour of Chicago to his annual TV host duties on Thanksgiving for Purina’s National Dog Show since 2002, O’Hurley has done it all. Heck, he even competed on Dancing With the Stars. As Captain Hook, he’s equal parts villain and ham—the perfect combination for a family-friendly show that manages to keep the adults entertained as well. O’Hurley’s musical moments—both the aforementioned Hooked on a Feeling and In The Navy are presented with his faithful sidekick, Smee and a rag-tag trio of pirates doing their best impersonations of Elvis Presley, John Lennon and Michael Jackson by his side as Captain Hook and the boys earn every single cheer and jeer from the audience. (don’t forget, in panto, audible reaction from the audience isn’t just encouraged, it’s expected)

Mason Trueblood as Pirate Lennon…I’m guessing legal reasons prevent them crediting him as Pirate John Lennon, but I digress…gets the fun of nearly every response he utters also being a Beatles’ song title, just another layer to the show for the grown-up in the audience. Meanwhile, Pirate Elvis as played by Dan Castiglione, offers a hip-swiveling, lip-curling wink to nearby Memphis and Malcolm Buchanan as Pirate Jack (as in Michael Jackson…more legalese, I’m sure) provides some comical moon-walking, crotch-grabbing and high-pitch squealing.

Clarice Ordaz as Tiger Lily

Having nabbed a spot in the Top Five from Season 8 of So You Think You Can Dance, Clarice Ordaz appears in Peter Pan as Tiger Lily, the indian princess who befriends Peter and the Lost Boys. Albeit bordering on political incorrectness…what isn’t lately?…I personally found the character of Tiger Lily and the rest of the indians, in particular their clever choreography, quite funny.

Mason Trueblood and Ben Giroux

Speaking of funny, no one in the show is funnier than Ben Giroux as Smee. Smee is Hook’s figural right hand man (remember the captain’s literal right hand was chomped off by a crocodile). Rather than describing Smee as Captain Hook’s right-hand man, perhaps it’s more accurate to refer to him as his second banana, especially since Giroux is so dang hilarious—Google Back to the 90s for a peek at Giroux’s comedic genius. A huge part of what makes this Peter Panto so enjoyable, at least for the over 12 set, is Giroux’s quick witted delivery. As for the kiddies, they might recognize Giroux as the pint-sized villain, The Toddler from Nickelodeon’s Henry Danger. Several side jokes, many playing to the Music City audience by making reference to Nashville-centric themes, are so slyly delivered by Gireox that if you’re not paying full attention, you’ll miss them. One I found particularly humorous made reference to the fact that Tinker Bell wasn’t the only fairy in the story, but I’ll leave that one alone.

Diana DeGarmo as Tinker Bell

Speaking of fairies—the traditional kind—Tinker Bell is enchantingly, buzzily, brilliantly played by current Nashville resident, Diana DeGarmo. DeGarmo, while perhaps best known for being voted runner-up on season 2 of the original run of American Idol, DeGarmo has gone on to star on Broadway, in national tours and numerous regional musical theatre productions. From her opening duet with Tegan Marie’s Wendy on Nature Boy, DeGarmo sprinkles pixie dust, cheer and an entertaining helping of mischief into her portrayal of Tinker Bell. Diana, if you’re reading this, get to the studio ASAP and record your version of Nature Boy. It is ethereal and simply beautiful. Proving she can belt or ballad, Diana provides the show’s most musically glorious moment when she proves once and for all that big things do indeed come in small packages with her show-stopping rendition of the Aretha Franklin classic, Think. I was lucky enough to have been in the audience a few weeks ago for the December installment of Music City’s monthly Nashville House Concerts when DeGarmo performed a preview of her take on the iconic tune and it was marvelous. Should she ever assume the role of Tinker Bell again, I see #ThinkTink trending! An interesting bit of synergy: As mentioned above, DeGarmo got her big break on American Idol, Among Idol’s original producers— Nigel Lythgoe, who just so happens to be Peter Panto creator Kris Lythgoe’s father)

Tegan Marie and Garrett Clayton as Wendy Darling and Peter Pan

As for DeGarmo’s Nature Boy duet partner, Tegan Marie, who not only is the youngest female singer to sign a major country music record deal since Tanya Tucker, is also making her musical theatre debut with this show. As Wendy Darling, Tegan Marie is, well…darling, indeed. Garnering a huge and very devoted fan base of young girls just like herself, she began her career at a very young age by posting videos of herself covering classic songs, so covering The Chainsmokers Don’t Let Me Down as Wendy in this panto seems like a great way to ease her into musical theatre. Not that she needs to be eased into anything. At only 15, she’s so comfortable on stage in the role of Wendy, that playing Mother to Peter and the Lost Boys is a perfect fit. It’s no coincidence, that among Wendy’s songs in Peter Pan and Tinker Bell: A Pirate’s Christmas, Tegan Marie also performs her own current single, Make a Boy Cry within the show, providing another perfectly synergistic moment.

More Music City synergy comes in the casting of Wendy’s younger siblings, John and Michael, as well as the Lost Boys, as all these roles are played by Nashville youth. Alan Harrison Foeder and Lucas Shane alternating in the role of Michael and Andrew Hansen and Jackson Nolan rotating in the role of John.

Garrett Clayton as Peter Pan

Then there’s Peter Pan himself, played by former Disney heartthrob Garrett Clayton. After achieving success starring in two installments of the Disney Teen Beach Movie franchise, Clayton’s teen trajectory continued with the recurring role of Chase Dillon on The Fosters which aired on the Disney-owned ABC Family/Freeform network and a starring role as Link Larkin in TV’s Hairspray LIVE! Breaking out of the house of mouse, Clayton turned in a surprisingly adult and critically acclaimed performance in King Cobra, a bio pic centering ‘round the adult film industry, alongside James Franco in 2016. in 2017, he co-starred with his Peter Pan co-star Giroux in the previously referenced Back to the 90s and earlier this year Giroux produced Clayton’s hauntingly hot I Put a Spell on You just in time for Hocus Pocus‘ 25th anniversary. While Clayton continues to showcase his range from drama to musicals, Peter Pan is the perfect role. With his boyish matinee idol looks and boundless energy, he scarcely needs the high-flying wires as he leaps across the stage as the boy who’ll never grow up. His musical moments in Peter Pan are just as cleverly interwoven as the rest. Near the show’s opening sequence, Clayton performs Believe, a song made famous by Josh Groban as included in the hit Christmas movie, The Polar Express. With lyrics: “Believe in what your heart is saying. Hear the melody that’s playing” and “Give your dreams the wings to fly” is the perfect Peter Panto anthem. When he joins forces with DeGarmo on Fight Song the audience can’t help but believe that anything can happen second star to the right and straight on till morning.

Peter Pan and Tinker Bell: A Pirate’s Christmas continues its holiday run in Nashville at TPAC‘s Polk Theatre with matinee performances Friday and Saturday, December 21 and 22 at 1 p.m. and Sunday, December 23 at 11 a.m. and evening performances Friday, December 21 at 7:30 p.m., Saturday, December 22 at 6 p.m. and a final afternoon performances Sunday, December 23 at 4 p.m. Ticket prices start at $35, with a limited number of $25 Rush Tickets available 60 minutes prior to each remaining show’s start time. Click Here to purchase tickets.

Following a brief holiday break, TPAC’s Broadway series returns with the Nashville premier of the touring company of On Your Feet! the Story of Emilio & Gloria Estefan onstage at TPAC’s Jackson Hall from Tuesday, January 15 thru Sunday, January 20. Click Here for tickets or more information. You can also discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

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

Theatre Review: Don’t be a Cotton-Headed Ninny Muggins! Go see Sparklejollytwinklejingley Chase Miller’s performance as Buddy in ‘Elf: The Musical’ at Chaffin’s Barn Dinner Theatre thru December 22.

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Chase Miller lights up the holidays at Chaffin’s Barn Dinner Theatre as Buddy in “Elf: The Musical” (photos by Michael Scott Evans/courtesy Chaffin’s Barn Dinner Theatre)

Dear Santa, I have a confession to make. I’ve never seen Will Farrell’s 2003 holiday hit, Elf in its entirety. Confession Number 2: After seeing Chase Miller in Chaffin’s Barn Dinner Theatre’s current production of Elf: The Musical, based up on the film, with music by Matthew Sklar, lyrics by Chad Beguelin with book by Bob Martin and Thomas Meehan, I fully realize that just might make me a Cotton-Headed Ninny Muggins.

One final confession. I’ve never been a huge fan of Farrell. After seeing Chase Miller starring in Chaffin’s Elf, I am fully convinced there’s no way in the world Farrell’s performance could hold a candle to Chase Miller’s. As I mentioned when I interviewed Miller and his fellow cast mates for a recent installment in my recurring interview feature, Rapid Fire 20 Q, with his perfect comedic timing, unabashed joy and contagious optimism, Miller was obviously born to play this part.

From the moment Miller literally and figuratively leaps upon the stage, his portrayal of Buddy warms the heart with laughter, as he sets out on his journey from the North Pole to Manhattan in search of his father. As Santa himself—fabulously, slightly caustically played by Brian Russell—reveals in clever, albeit thinly-plotted exposition…when Buddy was an infant, he crawled in to Santa’s sack, but went unnoticed until Santa returned to the North Pole where Buddy was adopted as one of Santa’s elves. After 30 years of thinking he was just a very tall elf, Buddy overhears the truth…that he’s human. He then sets out on his journey to find his real father.

As mentioned previously, I’ve not seen the entire movie, but I’ve seen enough clips and random scenes over the years as the film enjoys annual holiday airings to know that Miller’s Buddy isn’t simply a mimic of Farrell. To me, Farrell’s films frequently suffer the same fate of most Saturday Night Live skits….they just don’t know when to stop. Fortunately, Miller doesn’t have that problem. Miller’s wide-eyed childlike approach to the character is entertaining from first bounding onstage to his last hug. An actor of lesser skill could easily get lost in the role, reducing it to foolishness, but Miller’s Buddy is infectiously enthusiastic in his dream of forging a relationship with his father, so much so that he not only elicits uproarious laughter along his journey, but a genuinely sweet moment or two.

You just gotta love this show from the get. Costumer Miriam Creighton has done a splendid job of designing and constructing jolly holiday attire. Adding a bit of humor to the elven magic, ensemble members portraying elves walk on their knees—which are fitted with elf shoes, of course. Add to that Everett Tarlton’s clever choreography, Martha Wilkinson’s direction and Rollie Mains’ as music director, and you’ve got the makings of a Christmas musical guaranteed to deliver the holiday goodies.

Speaking of Tarlton’s choreography, show opener, Christmastown’s uplifting positivity perfectly mirror’s Buddy’s persona. The elf-ography in that number indeed made my belly jiggle like a bowl full of jelly. Sparklejollytwinklejingley’s frenetic fun as Buddy tries to convince some jaded department store elves to take pride in their work, continues the Christmas mood perfectly. On that note, Katie Gant’s lighting design indeed shines the light on the festive fun as the set glistens like any given Main Street across the country during the holiday season.

Act 2’s Fosse-esque Nobody Cares About Santa featuring a few less-than enthusiastic Santas including Austin Olive, David Ridley, Christian Redden and Tarlton, becomes a jazz-hot surprisingly sultry Santa sequence. That leads into an equally seductive Never Fall in Love featuring Christina Candelora lamenting love in the saddest/sexiest Christmas number since Rosemary Clooney’s White Christmas torch song, Love You Didn’t Do Right By Me—and that’s quite a feat, considering she’s singing about falling in love with an elf.

Gotta also mention Tarlton’s set design. Spoiler Alert: When the Christmas tree lowered from Chaffin’s loft (YES, the fabulous mechanical stage that lowers from above is BACK), my Mom leaned over and whispered, “that the kind of tree everybody needs”. It always amazes me with relatively limited performance space, Chaffin’s somehow manages to utilize every inch of stage, packing fully, gorgeously choreographed numbers from large casts who frequently, seamlessly, move set pieces to and fro in equally choreographed moves, so much so that the audience is barely aware. Just another example of the well-oiled machine that is Chaffin’s.

As per usual for Chaffin’s productions, the cast is top-notch. Grey Frey, a favorite at Chaffin’s, plays Walter Hobbs, Buddy’s Dad, and he does so with a perfect balance of businessman agitation and overwhelmed family man. The aforementioned Candelora is Jovie, a less-than-jovial department store elf, who soon becomes the object of Buddy’s affection. A fan pf Candelora’s for a few years, any chance to see her on stage is a joy indeed. Jessica Holtan, making her Chaffin’s debut, plays Emily, Buddy’s human step-mom. She’s perfect as the put-upon wife, who still sees a bit of practical magic in believing in the spirit of the holiday. Seth Barrett, who recently appeared as Les in Chaffin’s Newsies, plays Michael, Buddy’s younger brother who, thanks to his workaholic dad, doesn’t exactly believe in Santa. His scenes with Miller as his older brother ring true to those of us who look up to our older siblings no matter how different we may be from them.

Another notable cast member is Vicki White as Deb, Mr. Hobb’s busy-body secretary, who initially finds Buddy In The Way, but soon warms to him like a cup of hot coco on a frosty morn.

The aforementioned Russell not only plays Santa, but also Mr. Greenway—Buddy’s father’s Scrooge-like boss. Russell’s Santa is played with a decidedly curmudgeonly wink to dry-witted Bob Newhart, who played Papa Elf in the film, also gets the chance to totally turn up the crankiness in the dual role of Mr. Greenway. When I spoke with Russell for my recent all-Elf Rapid Fire 20 Q, we chatted about the fact that Russell’s involvement in Elf marks a bit of a homecoming for the actor, who got his professional theatrical start at The Barn Dinner Theatre nearly forty years back. While Chaffin’s patrons may also recognize Russell for frequently working as one of the waitstaff during the dinner portion of the shows, and Nashville theatre patrons certainly recognize him from productions all across Nashville, it’s been nearly 20 years since Russell has been seen on stage in a Chaffin’s production.

Heck, the entire ensemble, including Christen Heilman, Cassie Donegan, Matthew Hayes Hunter, Melissa Silengo, Jenny Norris, Colin Bevis, Myka Pacheco and Gabe Pacheco, is fabulous. Whether playing elves, harried shoppers or over-worked office drones, each member of the cast approaches their various roles with enough minute attention to detail, movement and expression to garner their own attention from the audience from time to time.

Predictable? Sure. Adorable? Undeniably. Infectiously fun and certain to get you in the mood for the holidays? Absolutely. Elf: The Musical continues through Saturday, December 22. As the venue’s name would imply, in addition to the show itself, Chaffin’s Barn Dinner Theatre also offers a delicious buffet-style dinner along with the show. Throughout the run, Elf will be presented Thursdays at 12noon and 7:30p.m., Fridays & Saturdays at 7p.m. Additional showtimes include matinee performances on Wednesday, November 28, December 5 & 12 at 12noon, and Sunday, December 9 & 16 at 2p.m. Tickets for Evening performances and Sunday matinees include the full buffet dinner option with Dinner and Show tickets priced at $60 for Adults & $30 for Youth and Students or Show Only tickets available for $35 for adults & $16 for Children 12 and Under. Matinee tickets are available with the option of a Box Lunch for $27.50, or show only for $19.00. For Wednesday and Thursday matinee performances, Doors Open at 11a.m. for Box Lunch patrons, with the show beginning at 12noon. For Sunday matinees, Doors Open at 12noon with buffet service until 1:30p.m. and showtime at 2p.m. Friday and Saturday evenings, Doors Open at 5p.m. with dinner service from 5:30p.m.-7p.m and Curtain at 7:30p.m.

Fair Warning: Chaffin’s Christmas shows inevitably ALWAYS SELL OUT, so get your tickets today. Tickets may be purchased by calling the Box Office at 615.646.9977 (ext. 2) or 1.800.282.2276. You can also CLICK HERE to purchase tickets online.

The holiday fun keeps coming at Chaffins with The Game Show Show: Holiday Edition in their Backstage Theatre space, with weekend performances November 23-December 22. CLICK HERE for more information.

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

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

Theatre Review: Dreaming of a White Christmas? Look no further than the high-energy stage version of Irving Berlin’s ‘White Christmas’ tapping its way across the country and into audiences’ hearts this holiday season

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Irving Berlin’s ‘White Christmas’ stars Kelly Sheehan, Jeremy Benton, Sean Montgomery and Kerry Conte, onstage in Nashville at TPAC’s Jackson Hall as holiday tour continues

With it’s lavish sets, gorgeous costumes and top-drawer cast, the 1954 film Irving Berlin’s White Christmas, which starred Danny Kaye, Bing Crosby, Vera-Ellen and Rosemary Clooney, has been a holiday tradition for…well…64 years. Moving the magic from screen to stage more than a decade ago, playwrights David Ives and Paul Blake adapted the story into an equally resplendent stage musical. The show is currently in Nashville at TPAC’s Jackson Hall through Sunday, November 18 as the national tour makes its way across the country guaranteeing audiences everywhere a glistening, gleaming, smiling, singing, happy, tapping, merry-making White Christmas.

While I wasn’t around in 1954 for the initial release of the film, an annual viewing has become somewhat of a holiday tradition since first discovering it by way of a late-night TV broadcast some forty years ago on Christmas Eve while staying up late to help my mom wrap those last few gifts. Fast forward to a few years back when the national tour of the stage musical played TPAC. I was in heaven, after all, what could be better than a glorious new musical featuring a soundtrack jam-packed with Irving Berlin tunes, lovingly based on a classic movie? Mind Blown.

So, how do you replicate the on-screen chemistry of Crosby and Kaye playing ‘odd couple’ best pals, let alone Clooney and Ellen as squabbling sisters? The simple answer, you cast Sean Montgomery, Nashville’s own Jeremy Benton (back for his fifth time with the tour), Kerry Conte and Kelly Sheehan. Montgomery smoothy fills the Crosby bill while Benton eases into the goofiness of Kaye while elevating the role with some of the most impressive dance moves I’ve ever seen onstage. As for the ladies, Sheehan’s Judy might look more like Clooney than Vera-Ellen, but her dance moves rival those of her character’s creator. At times Conte’s singing voice is blissfully similar to that of Rosemary Clooney, but there’s also times, especially in her line delivery, that she possesses a more regal intonation reminiscent the equally talented chanteuse, Peggy Lee. Just another interesting fun fact…when the film was released, Clooney was under contract with Columbia Records and was therefore prohibited from appearing on the film’s official soundtrack record album release. Instead, Decca Records brought in Lee to record vocals for the vinyl. (I warned you it’s my favorite).

Just as the film, White Christmas begins in 1944 near the action of a WWII battlefront at a drab army camp as besties Phil Davis (Benton) and Bob Wallace (Montgomery) attempt to bring holiday cheer to their fellow soldiers. Amidst the wartime setting, Benton and Montgomery perform heartwarming versions of composer Berlin’s classics, Happy Holiday and the title tune, White Christmas.

Conrad John Schuck and Karen Ziembra as General Waverly and Martha Watson in Irving Berlin’s ‘White Christmas’

As the boys wrap their battlefront performance, their gruff commanding officer, General Henry Waverly (Conrad John Schuck) emerges initially seeming to break up the fun, when in truth, he thanks them for their little Christmas show and wishes his men well with a speech about his hopes for them ten years in the future. Shuck, who now calls nearby Franklin, TN home, has enjoyed a prolific career in TV, film and on stage. Among his many memorable roles, he appeared in several Robert Altman films including M*A*S*H, played Sergeant Enright on TV’s McMillan & Wife, brought Herman Munster back to life in the 90s starring as the bolt-necked patriarch in the updated series Musters Today, played a comedic robot cop in one of my cherished childhood favorites, Holmes and Yoyo. Oh, and did I mention he costarred as Col. Wm F. Cody alongside Reba in her Broadway debut as Annie Oakley in Annie Get Your Gun? But I digress.

Ten years in the future it is, as action then fast-forwards to Christmastime1954. This finds Wallace and Davis, now a hugely successful performing duo, about to appear on The Ed Sullivan Show. The stark contrast from the show’s more somber setting to the vivid set and costumes of the reprise of Happy Holiday and the toe-tapping, mood-lifting Let Yourself Go put me in mind of Dorothy’s arrival in Oz as she emerges from the black and white emotionless Kansas to the vibrant wide-eyed extravaganza that is Munchkinland. This also reminded me of a bit of useless trivia. White Christmas, the film, wasn’t just shot in spectacular Technicolor. It was also the first Paramount Pictures movie to be released in VistaVision, a then-new wide-screen format that enhanced the projection area of standard 35-mm film. Think of it as mid-50s version of 4K.

Benton and Montgomery bring 50s technicolor to life onstage in ‘White Christmas’

That said, the musical’s scenic designer, Anna Louizos and costumer, Carrie Robbins brilliantly pay homage to the beautifully dreamlike, overly saturated full spectrum of colors presented in the original as they dip their respective pallets into nearly every color in the rainbow helping to create a living technicolor spectacular.

Colors aren’t the only thing saturating White Christmas. It’s also full of Berlin tunes, so much so that even the incidental musical will have Berlin-philes beaming as they hear bits and bars from several of the legendary composer other notable tunes. While the show is indeed tune-full, it’s also satiated with patented boy-meet-girl (with complications) saccharine plots. As mentioned above, this time we’ve got army buddies Bob Wallace (Montgomery) and Davis (Benton) and their chance/fateful meeting with Betty and Judy Haynes (Conte and Sheehan, respectively).

From the beginning there’s not just sparks, there’s fireworks as Montgomery’s Wallace and Conte’s Betty lock horns while Benton’s Davis and Sheehan’s Judy see through the resistance and set their sights on matchmaking. This leads to a clever duet between Montgomery and Conte. Clever because they’re each in their own dressing rooms, he, backstage at The Ed Sullivan Show and she, in her dressing room at a local nightspot while both contemplate the shared unpredictability of  Love and the Weather (one of many Irving Berlin tunes not originally featured in the film, but added for the stage musical adaptation).

Conte and Sheehan recreate the iconic ‘Sisters’

Next up is a spot-on recreation of one of the film’s most iconic scenes, Sisters in which Sheehan and Conte, twinning in gorgeous heaven-blue dresses with matching feather fans wax lovingly on the bond of sisterhood, a bond so strong that only one thing can come between the two…when one sister attempts to even think of going after the other sister’s man. Bravo to Randy Skinner, the show’s director and choreographer, for finding the perfect balance between honoring the iconic moments like this, while breathing revived life into other segments of the show. Not gonna lie. I may or may not have teared-up during this number…and a few others throughout the show.

The Best Things Happen While You’re Dancing offers Benton and Sheehan a chance to sway lovingly across the floor. The staging of this number is beautiful as the set and ensemble disappear while Benton and Sheehan’s Phil and Judy escape their surrounding in a dreamlike stage induced by the peacefulness of dancing cheek to cheek.

Any time I talk about White Christmas—you’d be surprised how often that is—I inevitably mention my hands-down favorite moment in the film in which Phil has hoodwinked Bob into a train trip to Vermont to unknowingly join the Haynes Sisters as they perform a Christmas Eve show at an inn (which just so happens to be owned by their former General). In the film, clever cinematography transforms a table napkin, an advert and pine needles into a snow-scene all atop a table in a boxcar as the quartet ride the rails. The scene is sweet as they sing of Snow, but the whole sequence only lasts about two minutes. For the stage musical, it’s an all-in as the ensemble packs the boxcar for an expanded version of the song. It’s as if Skinner is giving me my own special holiday gift every time I see this show.

On the subject of gifts to the audience, enter Tony-winner Karen Ziembra as Martha Watson. Played by Mary Wickes in the film, Martha is The General’s right-hand-woman as she oversees the day to day running of the lodge and, at least for the holidays, helps him care for his visiting granddaughter, Susan (a role shared during the tour by Emma Grace Berardelli and Kayla Carter). Ziembra, like her film-version predecessor, lights up the stage and steals the spotlight with every snide remark, every double-take and every movement, but when she belts out the opening note of her sole solo Let Me Sing and I’m Happy…DAMN! That’s how you do it, folks. Not to be too outdone by a Tony-winner, later in the show, young Susan gets her chance at the tune, to audience-cheering results.

Act 1 ends with what is easily the moral of the show, Count Your Blessings Instead of Sheep and the optimistic and gorgeous Blue Skies.

While Act 1 contains enough punch to be a show all its own, Act 2 somehow amps up the thrill of it all as it opens with a no-holds-barred I Love a Piano. A mind-boggling number than clocks in somewhere around a full nine minutes of tap triumph featuring Benton, Sheehan and a dozen ensemble members in perfect step. And YES, on opening night of the Nashville leg of the tour, several audience members leapt to their feet for a spontaneous mid-show ovation in appreciation.

Other Act 2 highlights include a hilarious gender-bending Sisters reprise courtesy Montgomery and Benton, Sheehan’s breathy, bluesy ballad, Love You Didn’t do Right By Me that morphs into a duet with Montgomery on How Deep is the Ocean, and of course the magnificent film-tactic finale. Spoiler Alert…YES, it snows on stage!

Irving Berlin’s White Christmas continues in Music City at TPAC’s Jackson Hall with five more performances thru Sunday, November 18, with a Friday evening performance at 8p.m., Saturday matinee at 2p.m. and a Saturday evening performance at 8p.m., a Sunday matinee at 1p.m. and a final Sunday evening performance at 6:30p.m.. For more information, CLICK HERE. TPAC is offering two ticketing specials for the remainder of the run. Rush Tickets are available for $30. Simply visit the box office 90 minutes prior to curtain and inquire about availability. There’s also a special on groups of four tickets, just give the promo code JOLLY.

Following the Nashville leg of the tour, White Christmas heads to Tulsa, OK from November 20-25, Atlanta, GA from November 27-December 2, Denver, CO from December 5-15, Orlando, FL from December 18-23 and finishes out the holiday season in Miami, FL, December 20-30. CLICK HERE for ticket links to all remaining cities. To keep up with all things White Christmas, CLICK HERE or follow the tour on Facebook, Twitter and Instagram.

In addition to White Christmas, TPAC’s holidays are in full swing as they host a wide variety of Christmas-themed shows including: Broadway Princess Party, Nashville Rep’s 10th and final year of A Christmas Story, The Hip Hop Nutcracker, A Drag Queen Christmas, Nashville Ballet’s annual presentation of Nashville’s Nutcracker and Peter Pan and Tinkerbell: A Pirate Christmas. CLICK HERE for the full calendar, dates and ticketing information. Follow TPAC on Facebook, Instagram and Twitter.

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

 

Review: Three decades later, ‘The Phantom of the Opera’ still mesmerizing audiences as latest national tour plays TPAC thru November 4

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Quentin Oliver Lee and Eva Tavares starring in “The Phantom of The Opera” (photo by Matthew Murphy)

When I attended opening weekend of the Nashville leg of the current national tour of The Phantom of the Opera at TPAC’s Jackson Hall, it marked the half-dozen mark for me, having originally seen the show nearly thirty years ago during its original Broadway run, as well as a handful of touring productions over the years, including at least two previous tours in the very theatre in which I sat last week. In spite of my familiarity with the story, and dare I say it, my own phandom, even before the drapery fell to reveal THAT chandelier, something was different—special even—about this show. Perhaps it was because my companion for the evening, in spite of growing up with a father who worked in New York’s theatre district, had never seen the show. That’s right, a Phantom virgin.

As we settled into our seats and the all-too-familiar prelude began to swell from the orchestra pit, I found myself surprisingly being overcome with chills. At first waving it off to me admittedly being a bit neurotic and simply loving the art of live theatre, I soon realized it was much more than that. Here I was, sitting in a near-sold-out theatre about to watch a show I’d seen time and time again, a show I knew was somewhat weak on book and character development, but a show that is simply gorgeous. Gorgeous in fantasy-inducing score, gorgeous in breathtakingly iconic costume, gorgeous in opulent set design, and thanks to Quentin Oliver Lee, Eva Tavares, Jordan Craig et al, gorgeous in breathing new life into characters as recognizable and beloved as any to have ever grace the theatrical stage.

While the beginning of the musical sets up the story, we still have to wait three scenes in before the action truly starts when the Phantom first appears…and yes, even after seeing it as many times as I have, I sill gasp a little when he first shows up.From his first appearance, Lee’s Phantom is menacing, commanding and powerful, his voice in fine condition to assume the titular role. From a physical standpoint, he’s also perfect for the role, towering above most of the cast. When he solos on Music of the Night, it is indeed enchanting.

While Richard Stilgoe and Sir Andrew Lloyd Webber have endured three decades of critics lamenting the lack of a believable story, character development and reasoning behind the tale of a masked man who lurks in the shadows of a Parisian Opera House in the early 20th century, Webber certainly knew what he was doing when he composed the accompanying score with lyrical help from Charles Hart, for it’s the show’s soundtrack that outshines even the regal opera house setting.

To that end, more gooseflesh moments occur when Lee’s Phantom is joined onstage by his Christine, Eva Tavares. Diminutive in stature, raven-haired, porcelain-skinned, Tavares is the polar opposite to her Phantom. While this could easily detract from their shared scenes, instead, it enhances the idea of why she would fall under his spell, for you have to admit, as un-PC as it is to say, a woman of her slight physical presence would have no choice but to succumb to the Phantom’s domineering ways. Here’s the thing though, what Tavares’ Christine lacks in assertive physicality, she more than makes up for in voice. Whether duetting with Emily Ramirez’s Meg near the top of the show with Angel of Music, with Lee on the show’s majestic title tune, or solo in Act 2’s hauntingly beautiful Wishing You Were Somehow Here Again, Tavares IS Christine, as beautiful as she is talented. No wonder the Phantom would be obsessed.

With a cast and orchestra totaling more than 50 company members, there’s plenty of stand-out performers. Among them, the aforementioned Craig as Raoul. Possessing perhaps the most skilled voice in the company, the night I saw him, he was perfection. It should be noted that the playbill indicates that Herb Porter and Constantine Pappas also step into the role during certain performances.

Having recently seen the national tour of Love Never Dies, at TPAC just a few months ago, I had forgotten that Madame Giry is actually likable in the original story, considering the character is a bit of a baddie in the redo. Kristie Dale Sanders is delightful as Madame Giry in this production of Phantom, especially in one of the show’s rare comedic moments in which she and several members of the Opera House’s staff have been receiving notes from the Phantom.

Also turning in fine comedic performances are David Benoit and Rob Lindley as Monsieurs Firmin and Andre, the opera house’s business associates and Trista Moldovan as Carlotta Giudicelli, the opera diva Christine is about to replace if the Phantom has any say in the matter.

Speaking of, perhaps realizing the story is less-than-believable, this current incarnation seems to have added a bit more humor. A welcomed change indeed.

Billed as producer Cameron Mackintosh’s New Production, there are other differences between this and previous incarnations. The slowly revolving tower that ascends to the Phantom’s underground lair is spell-binding. When the stairs seemingly magically appear from the flat surface of the tower as the Phantom descends them, accompanied by lighting designer Paule Constable’s perfectly-timed lighting effects illuminating each emerging step, I couldn’t help but feel anxious at the thought of a technical glitch. On the subject of the lighting, throughout the show, I found my eye wandering from the actors to their shadows cast along the walls of the set, adding yet another spooky layer to the story.

Perhaps my favorite change from the original version is the top of Act 2 with Masquerade. While the grand staircase from the original was indeed a powerful visual, the newly added mirrored ceiling piece that allows the audience a true bird’s eye view of the ballroom choreography is quite enjoyable.

Thirty years after its Broadway debut, The Phantom of the Opera— story missteps aside–is still as majestic and hypnotic a spectacle as ever.

The Phantom of the Opera continues at TPAC’s Jackson Hall with performances Friday, November 2 at 8p.m., Saturday, November 3 at 2p.m. and 8p.m. and Sunday, November 4 at 1p.m. and 6:30p.m. Tickets range in price from $55 to $105. Earlier this week, TPAC announced the limited availability of special $40 rush tickets to each remaining performance. To take advantage of that, show up 90 minutes prior to showtime and inquire at the box office. CLICK HERE for tickets or more information.

Not in Nashville, but hoping to see Phantom on tour? Following its Music City engagement, Phantom continues through Fall of 2019 with performances in Houston, November 7-18, Omaha, November 21-December 2, San Antonio, December 7-17, Dallas, December 18-January 6, Oklahoma City, January 9-20, Detroit, January 24-February 3, Kalamazoo, February 6-17, Pittsburgh, February 20-March 3, Milwaukee, March 6-17, Providence, March 21-31, Cleveland, April 3-20, Schenectady, April 24-May 5, Los Angeles, June 6-July 7, Costa Mesa, July 10-21 and Honolulu, August 7-September 1. CLICK HERE for tickets. Follow Phantom on Tour at the show’s official site HERE, on Facebook, Instagram and Twitter.

Next up at TPAC, the national tour of Irving Berlin’s White Christmas returns to the stage. CLICK HERE for tickets or more information. You can also discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

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

Theatre Review: Directed by Suzanne Spooner-Faulk, Keeton Theatre’s ’Spelling Bee’ charmingly entertaining…C-H-A-R-M-I-N-G-L-Y; on stage thru October 27

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The cast of The Keeton Theatre’s “The 25th Annual Putnam County Spelling Bee” (all photos by Jenny Petit Steiner/courtesy The Larry Keeton Theatre)

Technically, The 25th Annual Putnam Country Spelling Bee, currently onstage at The Larry Keeton Theatre through October 27, isn’t Suzanne Spooner-Faulk’s debut as a director, I say technically because she co-directed the company’s production of Big River last year. It is, however, her first time to fully helm a show and to no surprise to anyone who knows her, she does so to a joyful end, presenting a show brimming with charm, humor, heart and just enough silliness to make watching a show in which adults play school-age children competing in a Spelling Bee worth watching. Doesn’t hurt matters that The Keeton itself use to be a local school, so the auditorium vibe that still exists in the theatre space perfectly adds to the play’s gymnasium setting.

For her cast, Spooner-Faulk has assembled a fun mix of actors, some of whom are returning to Keeton having previously been seen on stage, and a couple making their Keeton debut…always a welcomed choice to mix it up a bit. While it can be nice to have a company that’s completely familiar, that can sometimes result in a few miscast roles. Luckily for Spelling Bee audiences, that is not the case here, as each and every actor involved manages to find their individual character’s quirks and run with them.

Cast as the quirky spellers are Chelsea Pearce, Jason Scott, Miranda Vaqué, Toby Turner, Sydney Rogers, and Jonathan Hunter. Playing the equally quirky adult roles are David Shaw, Drew Dunlop and Jena Salb.

Once the show begins, Salb’s Rona Lisa Peretti takes to the Putnam County gymnasium to moderate the Bee. My Favorite Moment of the Bee features Salb’s Rona Lisa as she reminisces her own championship win some years back. As Rona Lisa, Salb is as perky and excited to be par too the Bee legacy as she is sweet when, during various circumstances in the show, the kids need a little bit of adult support and understanding. Having never seen Salb on stage myself, I am happy to proclaim she’s now among my ever-growing list of theatre crushes.

Joining Salb’s Rona Lisa as the Bee’s sole judge/word pronouncer is Drew Dunlop as Vice Principal Douglas Panch. Dunlop is at his best when he’s interacting with additional Bee contestants pulled from the show’s actual audience. (More about that later)

The third and final adult role comes in the form of David Shaw as Mitch Mahoney, the Bee’s comfort counselor. That’s right, it’s Mahoney’s job to send the losers off with a hug and a juice box. Shaw’s Mitch is delightful. Like several of his castmates, Shaw also appears in an additional role, playing one of two gay dads to one of the kids. You gotta love the stereotypical flamboyance of his gay dad portrayal as well as the equally expected thug look of his portrayal of Mitch, both as wrong and un-PC, funny is funny and Shaw is funny.

Chelsea Pearce, as Logainne (center) flanked by her two dads, Jonathan Hunter and David Shaw (far left and far right) in a scene from Keeton’s Theatre’s “Spelling Bee”.

Then there’s the kids. Pearce, as Logainne Schwartzandgrubenierre, the youngest contestant in the Bee, who just so happens to have two gay dads, is hilarious. Her affected way of speaking—as if she were wearing braces—and her spot-on comedic timing are the perfect combination. Proving just how quick on her feet she is on and off-book, during last weekend’s Sunday matinee when a plane seemed to be about to land on the rooftop of The Keeton Theatre, without missing a beat—and totally in character as Logainne, Pearce cracked wise that her current spelling word “made as much sense as building a community center so close to an airport”.

Scott, as returning Bee champ, Charlito “Chip” Tolentino gets his own chance to steal the spotlight in one of the show’s more surprising musical numbers, My Unfortunate Erection. Yes, you read that right, Chip, like most teenage boys experiences a sudden urge right there in the middle of the Bee. As one of the elderly ladies seated near me said at the close of his number “Oh, my! It’s like that Justin Timberlake SNL song-skit”.

Sydney Rogers, a newcomer to Keeton, plays Spelling Bee newcomer, Olive Ostrovsky. Of all the characterizations of the spellers, Rogers’ Olive truly tugs at the heartstrings as she’s just as concerned with spelling as she is her father’s absence from the audience. Early in the show, she leads the company in My Friend, the Dictionary, a telling tune that touches home with the outcast in all of us.

To be completely honest, upon first glance, Toby Turner seemed a bit miscast as William Barfeé (it’s pronounced Bar-fay), but once he gets his magic foot in motion, he proves why he was cast, as he turns what could easily be the most annoying character in the show into one of the most endearing.

Vaqué’s Marcy Park is a little Wednesday Addams, a little Buffy Summers (sans the penchant for taking out vampires). The character’s quirkiness comes from a mix of being new to the area, speaking a multitude of languages and being an over-achiever. Vaqué’s lead on I Speak Six Languages is one of the show’s more thoughtful tunes and she delivers it with just the right punch of emotion.

Rounding out the Spelling Bee contestants is Jonathan Hunter as Leaf Coneybear. Described in the playbill as being homeschooled, Hunter’s Leaf is simply my favorite. Wearing a safety helmet, a shimmering gold lame cape and clothes his character bravely admits to designing himself, Hunter’s Leaf reminded me so much of this goofy kid I went to elementary school with, it’s scary. Of course I can’t name names, he’s probably some multimillionaire inventor by now anyway. But back to Hunter, he manages to steal every scene he’s in and his solo on I’m Not That Smart will make you wanna go hug him.

A typically chaotic, yet humorous moment in “Spelling Bee”.

While these nine actors make up the cast, as indicated earlier, several of the characters also play additional minor roles as various members of the Bee contestants’ families. Also mentioned above, during each performance, four members of the audience are called up to the stage and treated as late entries to the Spelling Bee. That’s part of the charm of the show. No two shows are ever the same, in part because you just never know how the audience pulls are going to interact with the actual cast. Luckily for me and the audience during the show I attended, a couple of the audience pulls were more than ready for their fifteen minutes of fame. Don’t worry though, unlike some productions I’ve seen, the audience pulls do so willingly as they’re asked just prior to curtain if they’d be wiling to participate.

The 25th Annual Putnam County Spelling Bee continues its run at The Larry Keeton Dinner Theatre (108 Donelson Pike) with evening performances Thursday, October 18 thru Saturday, October 27 with dinner service at 6 p.m. and show  beginning at 7 p.m. Dinner and Show tickets are $30 for Adults, $20 for Children 12 and under OR Show Only tickets for $25 for Adults or $15 for Children 12 and Under. Call 615.883.8375 for tickets and availability.

Next up at The Larry Keeton Dinner Theatre is A Christmas Carol: The Musical with shows from November 29-December 16. CLICK HERE for tickets or more information.

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

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

Theatre Review: There’s something so right about ‘The Play That Goes Wrong’; National Tour onstage at TPAC’s Jackson Hall thru Sunday

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Members of the cast of ‘The Play That Goes Wrong’ (All Photos: Jeremy Daniel)

Described as “Monty Python meets Sherlock Holmes”, The Play That Goes Wrong is a guffaw-inducing, laugh-a-minute, play-within-a-play joy-ride of a farce that centers ‘round a fictional polytechnic school’s drama society as they present the whodunnit mystery, The Murder at Haversham Manor. Having taken London’s West End by storm, The Play That Goes Wrong is currently enjoying its Broadway debut run in New York while the touring company bumbles and stumbles across America on the show’s first US National Tour, Nashville and TPAC’s Jackson Hall being the tour’s current stop with shows thru Sunday, October 14.

From the moment patrons are handed their playbill as they enter the theatre to see a performance of The Play That Goes Wrong, it’s evident they aren’t in for an average run-of-the-mill night of theatre, for you see, even the program book seems to have had a bit of a printing mishap resulting in the cover graphic being printed slightly off-register. Then, as the audience settles into their seats, there’s a bit of a kerfuffle onstage as what appears to be tech crew members appear to be making last-minute adjustments to set pieces. Meanwhile, one of the stars of the show walks out into the audience introducing himself as the director and star while still others bustle about in search of a Duran Duran cd box set…and a dog named Winston. All this before the show technically starts.

From there, it’s two and a half-hours of pratfalls, missed cues, forgotten lines and face-hurting laughter. It’s like those clips of old Carol Burnett Show sketches in which one slight snicker amongst the actors results in an all-out uncontrollable laugh-riot for both the actors and the audience.

Reinforcing the show-within-a-show idea, a quick look at the playbill reveals two sets of information, one for The Murder at Haversham Manor, and one for The Play That Goes Wrong. The fictional bios for the drama society members, all in their touring debut, coincidentally, are hilarious and worth a read in their own right. Meanwhile, the actual cast bios reveal some very impressive credits, including at least two cast members making their return to Nashville, having previously starred in touring productions of other shows, as well as one cast member who previously appeared in the Broadway production of The Play That Goes Wrong.

Leading the cast as the aforementioned director and star of the the whodunnit is Evan Alexander Smith, who plays Chris Bean. In additional to Smith’s Bean being listed in the Murder program as director, he’s also credited as the show-within-a-show’s producer, prop maker, box office manager and about ten other behind-the-scenes crew titles. Oh, and Bean also plays Inspector Carter, who is called to Haversham to investigate a murder. As is the case when a director casts himself in a show (yes, it’s one of my actual theatrical pet peeves), wearing too many hats usually results in disaster. Smith seriousness as Bean is evident from the beginning, when Bean addresses the audience and in doing so, reveals some rather humorous facts about the company, including the budget-necessitating previous presentation of Cat (the obvious joke being they didn’t have the funds to present the better-known Cats). It them follows that Bean’s seriousness as Inspector Carter and the show’s director as the show goes wrong time and time again from the get, sets the hilarious pace for the inevitable unraveling of the show…and the cast.

Evan Alexander Smith

With initial misplaced props and missed cues, Smith’s Bean barely flinches as the powers through, but when a later scene calls for him to find ledger tucked in the cushions of a chaise lounge…or should I say…chaise longue…but I digress….anyway, the ledger isn’t where it’s supposed to be and Bean’s boiling-point is reached, to hilarious result. As if they knew exactly what to do, an audience member shouts out, “It’s under the chaise lounge”. Smith’s Bean breaks the fourth wall, chastises the audience for laughing and suggests perhaps they’d be better suited to be at a Honky Tonk, or perhaps, The Grand Ole Opry– – -two Nashville-centric entertainment options – – -which, of course, only results in more laughter and thunderous applause from the audience for the clever inclusion of a bit of local flavor from the touring company. One joke, about Hamilton, however, might not play as well in Nashville as it does across the country, seeing as how Nashville audiences will have to wait another season for tickets to that hot item.

Smith as Bean is just the tip of the iceberg…YES, I use that reference purposely, because the show, with it’s cleverly choreographed and write mishaps appears to sink quicker than the Titanic, but to blissfully, purposeful results.

Scott Cote, last seen by TPAC audiences as Brother Jeremiah in last year’s national tour of Something Rotten, is hilarious as Dennis Tyde. His fictitious Murder cast bio indicates he’s new to acting, having only joined the Drama Society after failing tryouts in a number of sports. In Murder, Cote’s Dennis is cast as Perkins, the butler. I know what you’re thinking…and while I did indeed as Cote is the butler did it when I interviewed him for my most recent Rapid Fire 20 Q, I cannot include his response as a Spoiler Alert here. What I can tell you is Cote’s Dennis is the epitome of the newbie thespian. He garners his biggest laughs from the audience when he no-so-casually glances at his hands where he’s evidently scribbled certain words of dialogue he has trouble pronouncing, then proceeds to mispronounce them anyway.

Ned Noyes and Scott Cote in ‘The Play That Goes Wrong’

Ned Noyes , who was part of Broadway’s The Play That Goes Wrong prior to being cast in the touring company, is scene-stealing as Max Bennett who plays Cecil Haversham, owner of the manor house in which the murder occurs. Early on, when Cecil goofs a line and gets a bigger response from the audience that had he executed the line perfectly, Noyes’ Bennett begins to over exaggerate his delivery as Cecil, thus receiving even bigger laughs. Being a huge fan of Lucille Ball (no secret to anyone who knows me), this reminded me of the classic comedy legend whenever her Lucy Ricardo character would goof onstage at Ricky’s nightclub. The bigger the audience response, the bigger the delivery of each subsequent line. My face truly began to hurt from laughing so much whoever Noyes was onstage opening night.

Peyton Crim portrays Robert Grove. His fictional bio references such roles as Lame Horse in Black Beauty and Dopey in Show White and The Tall Broad Gentleman. Crim’s Grove sees himself as one of the show’s more serious actors. in Murder, Grove is cast as Thomas Colleymoore, prime suspect in the murder of his sister’s intended, who’s got a bit of a secret himself. In spite of Grove’s serious nature, or perhaps because of it, the physical comedy his character endures as the set literally begins to fall apart, is all the more enjoyable for the audience. My companion for opening night in Nashville commented during one of Crim’s more physically demanding scenes that insurance for The Play That Goes Wrong must be astronomical. I suspect she’s right.

Brandon J. Ellis is subtly wonderful as sound tech, Trevor Watson. His fictional bio reveals he’s only part of The Murder at Haversham Manor to fulfill a requirement for an engineering course. During the entire show, Ellis’ Watson is seen to the left of the stage at his light and sound board. Frequently nodding off or otherwise distracted by his cellphone, Watson misses light and sound cues, only adding to the hilarity onstage, but nothing’s funnier than when Ellis’ Watson is forced on-stage to step into the role of Murder’s female lead when both she and the stage manager-unplanned understudy are knocked out cold.

Jamie Ann Romero being hoisted out the window by members of the cast of ‘The Play That Goes Wrong’

Speaking of the female lead and the stage manger, Jamie Ann Romero and Angela Grovey portray those roles respectively. Romero plays Sandra Wilkinson. Wilkinson’s Murder bio indicates she’s the company’s most experienced member, having been with the company eleven seasons. Romero, as Wilkinson, plays Florence Colleymoore, the above-mentioned fiancee to the murder victim. Romero’s Wilkinson is played with diva-like disdain for her fellow cast mates, but when things go awry, Romero shines as she exhibits simply astonishing physicality.

Part of that physicality comes courtesy a bit of rivalry between Murder’s leading lady and the only other female in the company, Angela Grovey as Annie Twilloil, the company’s stage manager. Grovey, like her co-star, Cote, is also making a return to TPAC’s stage, having previously played Medda in the first national tour of Disney’s Newsies. As stage manger Annie, Grovey seems to be the glue that holds the company together. Annie’s fictional Murder bio backs this up, siting that after Murder, she’ll leave the company to intern with the Oregon Shakespeare Festival. Throughout the show Annie can be seen—much to her horror—racing onstage to grab a falling piece of the set or place a forgotten prop, but when the show’s leading lady gets knocked out, Annie gets a taste of the spotlight and even though she’s reading her lines from a binder, it’s obvious she’s enjoying her time in the spotlight, for when the leading lady reemerges its a battle of the Florences with both actresses reciting their lines in unison until they literally push each other out the set’s window. While these two have limited stage time, compared to some of the show’s other cast members, when they’re on…THEY ARE ON. When I chatted with Grovey for my recent Rapid Fire 20 Q, I asked her about her on-stage rivalry with Romero, and their backstage friendship. For her response, check out the interview via the hyperlink above.

Rounding out the cast is Yaegel T. Welch, as Jonathan Harris as murder victim, Charles Haversham. His fictitious bio reveals a recent career switch from model to actor, perfect for a character who’s dead to begin with. As the curtain rises on the show, Welch’s Harris isn’t quite on his mark, making it even funnier that the corpse is moving. When cast members step on his hand, he moves, eliciting uproarious laughter form the audience. Offering a bit of unintentional foreshadowing to Charles’ undead state, he frequently shows up throughout the play uttering a line whose time has not yet come and whenever he realizes his mistake, he quickly folds his arms across his chest a la Lily Munster and backs his way off the stage. Simply hilarious. Besides, he’s playing a character named Jonathan Harris, so you KNOW I gotta love that (what else did you think the JH in JHPEntertainment stood for?)

To say that’s the entire cast is a bit inaccurate, for you see, Nigel Hook’s set, which won the Tony Award for the show’s current Broadway run, is as much a character and integral part of the show as any of the actors.  The ridiculously clever and technically intricate set mishaps—what with it’s falling wall sconces, crashing portraits, broken mantlepieces, combusting elevator and a collapsing second story study—enhance the slapstick, pratfalls and goofs throughout. While the dialogue and mishaps themselves would indeed be humorous to witness, thanks to a more-than clever story written by Henry Lewis, Jonathan Sayer and Henry Shields, as directed by Matt DiCarlo, the added visual of the deterioration of the set as the cast themselves descend into disaster is amplified a thousand times by Hook’s brilliant set design and this company of actors who are secure enough in their comedic craft to make playing a troupe of inept thespians seem effortless.

While this review can only attempt to convey the unbridled hilarity, you truly must see it to fully appreciate the true brilliance of the show, its physical humor and the impeccably timed delivery. For a real testament to the show’s creative genius, just go up to anyone who’s seen The Show That Goes Wrong, and repeat lines like “I’m taking the stairs”, “She’s having an episode” or the simple words “ledger” and ‘cyanide”. The resulting grins, snickers and spontaneous laughter are proof positive The Show That Goes Wrong is indeed the show that goes oh so right as far as a great time enjoying a night out at the theatre is concerned.

The National Touring company of The Play That Goes Wrong continues at TPAC’s Jackson Hall with shows thru Sunday, October 14. Friday and Saturday evening performances at 8 p.m. There’s also a Saturday matinee at 2 p.m. and Sunday performances at 1 p.m. and 6:30 p.m. Tickets to The Play That Goes Wrong range in price from $30 to $90. CLICK HERE for tickets or more information.

Not in Nashville, but interested in seeing The Play That Goes Wrong? Follow the show on social media at the official The Play That Goes Wrong site HERE, or on Facebook, Instagram and Twitter.

Following The Play That Goes Wrong, TPAC’s current Broadway Season continues with a return engagement of The Phantom of The Opera, playing Jackson Hall October 24-November 4. CLICK HERE for tickets or for more information.

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

Roxy Regional Theatre’s ‘Hairspray’ a hair-hoppin’ great time; on stage thru September 29 in Clarksville

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Jenna Leigh Miller (center) starring in Roxy Regional Theatre’s “Hairspray”

First off, I’m not sure why it has taken me a decade since first beginning to write about the Nashville area theatre scene on a regular basis to make the relatively short trek to nearby Clarksville to see a show at the Roxy Regional Theatre. Perhaps I was just waiting on an official invite. Well, thanks to Brian Best, it finally happened when I recently attending a performance of the Roxy’s current production, Hairspray, and now I can truly say I see what the buzz about the Roxy is all about.

Not only is the Roxy a simply gorgeous classic movie house that’s been renovated into a fabulous live performance venue, it’s also situated near the charming yet bustling town square. Add to that the aforementioned Brian Best in the role of Edna Turnblad and you’re most certain to be guaranteed a great night of musical theatre.

Directed and choreographed by Roxy’s Executive Director, Ryan Bowie, this production of Hairspray, based on cult movie king, John Waters’ 1988 film, the story’s eight-Tony-winning 2002 stage musical adaptation and subsequent 2007 big budget musical movie redo is surprisingly one of the best productions of the show I’ve seen, and I’ve seen it done quite a few times over the years.

Bowie has cast an all-around enjoyable cast. Obvious stand-outs include Jenna Leigh Miller, who stars as Tracy Turnblad, Edna’s plump and plucky teenage daughter whose dream is to not only dance on The Corny Collins Show, a Baltimore-based weekly music show (think American Bandstand), but to also usher in the racial integration of the show as well. Miller is simply adorable. Oblivious to the obstacles before her, or perhaps fueled by them, Miller’s Tracy commands the stage, from the show’s opening Good Morning Baltimore all the way through to Act’s 2’s all-in You Can’t Stop the Beat.

Drew Stairs approaches Corny Collins with charm and a perfectly over-inflated ego. His scenes with Miler’s Tracy are sweet and his jabs at her Barbie-doll perfect nemesis, Amber Von Tussle (Jessica Caracciolo) are executed with perfect comedic timing. Speaking of Amber, Caracciolo bratty portrayal is so fun, especially when paired with Stacy Turner as her equally self-important mother, Velma Von Tussle.

Kelly Letourneau is such fun to watch as Tracy’s best pal, the seemingly always permanently punished Penny Pingleton. Cast as Penny’s forbidden love (translation, it’s the 1960s…she’s white, he’s not) is Treston Henderson as Seaweed Stubbs. They shine during Without Love. Their on-stage chemistry is so sweet, who can blame Penny’s mother, the aptly named Prudy Pingleton (Amy Snider) for finally acquiescing. Additional kudos are in order to Snider for also appearing as the stereotypical (read lesbian) gym teacher and the no-nonsense prison matron.

Other stand-outs in the cast come courtesy Matthew Combs as Link Larkin, Jamila Hunter as the Big Blond and Beautiful Mothermouth Maybell. Her Act 2 performance of I Know Where I’ve Been, a song that temporarily refocuses the action away from the silliness of Tracy’s TV dreams to the seriousness of racial issues that sadly still exist, is hands-down the best moment in the show.  The feisty and adorable Mikquala Skelton as Little Inez is just a joy to watch. Lastly, Mairys Joaquin, Jameka Lache Horton and Alexandra West as The Dynamites, the show’s girl group trio of backup singers provide some of the show’s most gorgeous voices.

Brian Best (center) and the cast of “Hairspray”

Then there’s the aforementioned Brian Best as Edna Turnblad. In the previously mentioned original incarnations of Hairspray, the role of Edna has been played by gender-ignoring camp comedy drag legend, Divine, Broadway icon Harvey Fierstein and John Travolta…yes, even Vinnie Barbarino/Danny Zuko donned a dress to play the role of Edna Turnblad. Edna isn’t entirely new to Best, having played her a couple of years ago in another local production of the show. I was fortunate enough to have seen Best in the production as well and found it quite interesting that under the direction of Bowie, this Edna seems a bit more real, more Waters-esque. Over the top, sure—it kind of comes with the territory—but the Roxy’s Edna seems to heart-wrenchingly wallow in self deprecation while simultaneously building up her daughter in an effort to not let her fall into her mother’s patterns. Best’s Edna also has a grittier, less polished look than his previous turn, whether a choice by the actor and director, or simply by necessity of whomever did Best’s Edna makeup. Either way, it works, especially when she gets the confidence boost she needs and realizes beauty comes in all shapes and sizes.

The Roxy’s Hairspray features a talented group of actors, singers and dancers. Gotta love the school deskograpy from the get go, as well as what I’ll dub the bellography during Tracy’s dreamlike I Can Hear the Bells.

The set, designed by Bowie and Emily Rourke seems at times a bit compact, especially the Turnblad house, but it’s effective and clever, after all, what better way to emphasize the stature of Edna and her mini-me, Tracy than to present a house that’s literally busting at the seams? If there was once drawback to the production, it would have to be the fact that the actors weren’t wearing mics. As mentioned at the top of this review, this was my first time to attend a show at the Roxy, and it was my own fault for not requesting tix earlier. Perhaps because of this, my seats were near the back of the venue and right in front of a wall-mounted speaker, which may have attributed to my inability to hear certain performers and musical numbers.

Nonetheless, thanks to my own familiarity with the show and the cast’s non-stop energy, enthusiasm and all-out apparent excitement to be performing in the show, Roxy’s Hairspray is indeed worth the drive to Clarksville.

Hairspray continues at Roxy Regional Theatre (100 Franklin Street, Clarksville, TN) with performances through Saturday, September 29. Tickets are $25 for Adults and $15 for children 13 and under. CLICK HERE for showtimes, tickets or more information. To find out more about Roxy Regional Theatre, follow them on Facebook, Instagram and Twitter.

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

Music City is getting schooled by a talented band of pre-teens; Sir Andrew Lloyd Webber’s ‘School of Rock’ at TPAC thru Sunday, September 16

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Members of the cast of “School of Rock”, National Tour at TPAC thru Sunday, September 16

Just days after a win at this year’s Creative Arts Emmy ceremony for last year’s NBC live musical presentation of Jesus Christ Superstar secured Sir Andrew Lloyd Webber’s much-deserved place as an EGOT winner (artists, performers and creatives who’ve been awarded each of the four major awards—Emmy, Grammy, Oscar and Tony), the legendary Broadway composter’s School of Rock began the Nashville leg of their current national tour as the show opened to an enthusiastic crowd of all ages Tuesday, September 11 at TPAC’s Jackson Hall. The show continues at TPAC with shows through Sunday, September 16.

As the show’s title implies, School or Rock is exactly that, a musical laced with rockin’ tunes. Based on the 2003 comedy film starring Jack Black, School of Rock tells the story of a wannabe rock star who, as my late father would have said, is “living the life or Riley”. (google it, kids) Scraping by by way of the kindness of his best friend as he continues to pursue his rock n roll pipe dream, Dewey Finn unexpectedly finds himself substitute teaching a group of kids at a prestigious school. When he discovers they all posses heretofore unnurtured musical skills, Dewey sets out to cultivate a new rock band, developing a genuine concern for the kids, as well as his own true purpose, in the process. Played by former 2014 Book of Mormon Broadway star, Rob Coletti presents Dewey with a familiarity and ease that has the audience rooting from the slacker from the get. Attempting to steal the spotlight from his fellow hair-metal bandmate in the show’s concert-esque, albeit hilariously titled opening number, I’m Too Hot for You immediately reveals Dewey’s irreverent demeanor.

Easily one of the most joy-filled Lloyd Webber musical to hit the stage. A major part of that joy comes courtesy the show’s aforementioned younger cast members, mostly pre-teen, the dozen or show kids featured in the show play their own instruments, and they do so with confidence and talent far exceeding their young ages.

Among the talented youth band are: guitarist Mystic Inscho as Zack, bassist Leanne Parks as Katie, drummer Cameron Trueblood as Freddy and keyboardist Theo Michell-Penneron as Lawrence. Among the all-in musical highlights are Act 1’s You’re in the Band, Stick it to the Man and In the End of Time, as well as Act 2’s high-energy eponymous tune, School of Rock.

Borrowing a phrase from Dewey, himself, who may or may not have heard it in a Witney Houston song, after seeing these mega-musically gifted kids rock out during the entire show, I, too believe the children are our future.

In addition to Lloyd Webber’s genius score, School of Rock also features the work of lyricist Glenn Slater (Sister Act: The Musical, The Little Mermaid, and Lloyd Webber’s Phantom sequel, Love Never Dies) and book by Downton Abbey creator, Julian Fellows. , adding even more of an unexpected pedigree to the show.

While School or Rock isn’t exactly high-brow musical theatre, after all, our hero scams his way into a teaching job, and the plot features some major stereotypes like one girl’s two gay dads flitting around in overly-dramatic exasperation, and a staunch, career-driven female school principal who only has time for work. Nonetheless, Fellows’ clever and funny book presents these now seemingly un-PC characters with humor and heart, allowing the audience to not only laugh at the absurdity of the stereotypes, but to perhaps embrace them. After all, it’s easier to accept and understand things if they are presented with a wink.

Rob Colletti and Lexie Dorsett Sharp in “School or Rock”

In the role of Rosalie Mullins, the above-referenced school principal is Lexie Dorsett Sharp. Initially portrayed as a strict, but caring administrator, once she literally and figuratively lets her hair down in Act 2’s Where Did the Rock Go?, it’s evident why she was cast. Equally introspective and all-out show-stopping, it’s the most Lloyd Webber moment of the entire show and Dorsett Sharp not only rises to the occasion, she surpasses it giving Rosalie true diva status joining the ranks of Lloyd Webber’s best, including Eva, Grizabella and Christine.

It’s more than just the principle actors who attribute to the show’s rockstar quality, but also the entire ensemble. In adult roles, Layne Roate and Emily Borromeo are perfectly cast as Dewey’s put-upon roommate Ned and Ned’s overbearing, but well-meaning girlfriend, Patty.

As for the kids, in addition to the aforementioned band-mates, Sami Bray as Summer, the precocious and persnickety band manager, Grier Burke as Tomika, the seemingly shy new girl at school who not-so-surprisingly wow the audience with killer vocal skills as the lead singer, and Sammy Dell as Billy, the band’s flamboyant young stylist (draw your own conclusions about that one) are all equally charming, and as equally adept as scene-stealing as the rest of their co-stars, young or old.

On the subject of charm, anyone who’s ever felt like they weren’t measuring up to their parent’s ideals is gonna love Act 1’s bittersweet If Only You Would Listen, in which the kids give voice to…well, finding their own voice amidst their parent’s expectations and constant displeasure in the kids expressing who they are instead of who their parents want them to be. It’s the show’s most charming and heart-tugging tune.

With a rockin’ soundtrack, a charming and ridiculously talented cast and more than a few life lesson to be learned, School of Rock is a two-hour electric eclectic elective everyone in Music City should audit, because when Head Master Sir Andrew Lloyd Webber offers to teach musical theatre, you better sit up, take notes and…at least in this case…ROCK OUT!

School of Rock continues at TPAC’s Jackson Hall with performances through Sunday, September 16 with evening performances at 8 p.m. Friday and Saturday, September 14 & 15, a Saturday matinee at 2 p.m., a Sunday matinee on the 16th at 1p.m. and a final Sunday evening performance at 6:30. Tickets to School of Rock range in price from $40 to $95. Earlier this week, TPAC announced special Rush Ticket availability for each performance at a discounted rate of $25. To take advantage of the Rush Ticket price, show up at the venue’s box office just inside the lobby at TPAC 90 minutes before showtime. Click Here for tickets or more information.

Not in Nashville, but interested in seeing School of Rock? Follow the show on social media at the official School of Rock site HERE, or on Facebook, Instagram and Twitter.

While School or Rock is the first show of TPAC’s 2018/2019 Broadway season, it’s only the beginning. Next up is The Play That Goes Wrong with performances October 9-14. CLICK HERE for tickets, or more information about TPAC’s full upcoming 2018-2019 Broadway season. You can also keep up with the latest from TPAC on Facebook, Twitter and Instagram.

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