JHP Entertainment

One year, seven month…and 45 minutes (if you know, you know). That’s how long I waited to once again be seated in the audience at TPAC to witness the unmatched joy of live theatre. Thanks to The Band’s Visit, the 10-time Tony Award-winning musical, with book by Itamar Moses and music and lyrics by David Yazbek, which opened its Nashville tour stop Tuesday night at TPAC’s Jackson Hall, it was worth the wait.

With a show open taken directly from the musical’s source material—2007’s beloved Israeli film of the same name—a screen displays simple intertitles that read, “Once, not long ago, a small Egyptian police band arrived in Israel.” The intertitles continue, “Not many remember this, it was not that important.” This simple setup leads into the show’s first musical number, “Waiting”, (a bit of extra irony for TPAC’s opening night crowd). “Waiting” is a surprisingly poignant tune in which the inhabitants of Bet Hatikva lament the doldrums of life in their small town with lyrics like “We’re experts at waiting” and “you keep looking off into the distance even though you know the view is never going to change”. But change and a bit of excitement come when you least expect it.

Enter Egypt’s eight-piece Alexandria Ceremonial Police Orchestra, who’ve been booked to play an Arab culture center in Petah Tikva, but who’ve mistakenly traveled to the similarly pronounced Bet Hatikva. “Welcome to Nowhere”, features cast members Janet Dacal as Dina, owner of a small cafe, Clay Singer as Itzik, an out of work, happy-go-lucky guy, inspire of an often troubled marriage and Coby Getzug as Papi, a young man who just wants to fit in an find love. The theme of being stuck in your own surroundings is amplified in “Welcome to Nowhere” as Dina and company inform the band they’ve ended up in Bet Hatikva, with a B… “like in boring…like in barren…like in bullshit…like in bland” and as Dina lyrically succinctly puts it, “like in basically bleak and beige and blah, blah, blah”. With Broadway credits ranging from The Full Monty, Women on the Verge of a Nervous Breakdown, Tootsie and Dirty Rotten Scoundrels (and awards an accolades to match), it’s no wonder the lyrics to this and the entire soundtrack are B like in brilliant.

As for the band, they’re lead by Sasson Gabay as Colonel Tewfiq. A fan of the 2007 film, I have to say, what a thrill to see Gabay in the role, considering the fact he originated it in the movie. Joe Joseph appears as Haled, a young flirtatious musician who idolizes Chet Baker. James Rana plays Simon, the band’s clarinetist and aspiring composer who’s unfinished concerto perfectly reiterates themes of longing prevalent throughout. While the remaining members of the band don’t figure as prominently in the subplots of the show, their expertise as musicians during the interstitial musical interludes perfectly weave the story together. To that end, Yoni Avi Battat, Roger Kashou, Brian Krock, Kane Mathis and Wick Simmons round out The Band. Spoiler Alert: Do NOT leave after the initial curtain call, or you’ll miss a thrilling musical performance by all.

On the subject of The Band, they’re dressed in power blue military uniforms (designed for the original Broadway production by Sarah Laux), surely representative of the breath of fresh air The Band’s Visit becomes to this small burg. The clever book even makes reference to their uniforms. One such mention by one of the band members himself, likening them to Michael Jackson, who had a penchant for military costumes; another jokingly referring to The Band as Sgt. Pepper’s. Coincidentally, my weird pop culture brain did indeed think of The Beatles when I saw the uniforms, but not because of their Sgt. Pepper’s uniforms, rather due the fact that two of the Fab Four, George Harrison and John Lennon once famously owned matching Fender Stratocasters powder coated in a similar Sonic Blue, but I digress.

When Dina informs The Band that the next bus to their intended destination doesn’t depart until the morning, she offers them a meal and arranges accommodations with herself and her friends. Tewfiq and Haled join Dina at her apartment. Along the way, Haled inquires about a payphone, in hopes of contacting the Egyptian embassy to inform them of their travel snafu. Dina points towards the only payphone in town, which is guarded day and night by a young man (Joseph Grosso, credited simply as Telephone Guy in the playbill) who waits for a call from his girlfriend, even though it’s been months since she left their small town.

Once inside Dina’s apartment Tewfig inquires about her relationship status. “It Is What It Is” matter -f factly reveals her husband has abandoned her, but she does’t seem too bothered. As for Tewfiq, he’s not so free opening up, only acknowledging the existence of a wife and son.

The action then shifts to Itzik’s where he, his wife, Iris (Kendal Hartse) their infant son and his wife’s father, Avrum (David Studwell) are joined by  band member Simon. During dinner the wine flows freely, especially noticeable for discontented wife, Iris,. It’s subtle stage direction like this that truly sets this show apart. It’s the small, intimate actions, interactions and reactions that make The Band’s Visit such a charmer. Curious about his hosts, Simon asks Iris’ father about his wife. This leads Studwell’s Avrum to respond with one of the show’s most beautiful, figurative, literal and most heart-felt musical moments, “The Beat of Your Heart”. The tune contains still more clever lyrics courtesy Yazbek infectious score, including “love sparks on the upbeat, igniting on a minor 9th, resolving to a major 6th, then something clicks and everything starts”–be still my inner band-geek’s heart. Later in the evening, Iris storms out, but Itzik informs Simon that this is a frequent occurrence and she always returns. Even later, just as the baby has been put to bed by a sweet lullaby from Itzik, he awakens and begins to cry. Simon asks if he can play the baby back to sleep, but just as he enters the baby’s room, Isis returns. Upset that a stranger is in with the baby she rushes to the room in time to witness Simon’s solo lulling the crying baby to a restful hush. Rethinking her actions of the evening, she then embraces her husband in a lengthy and well-intentioned hug.

Elsewhere that evening, The Band and their momentary hosts all embark on varying but ultimately similar journeys of self-discovery and unexpected, but welcomed growth. Dina and Tewfiq enjoy getting to know each other over dinner and share a common interest in music and movies as expressed in another gentle musical moment, “Omar Sharif”. Not gonna lie, maybe it was the fact that this show marked my return to the audience after such a long global intermission, maybe it’s the fact that I’ll shed a tear at the drop of a hat, or maybe it’s that as a child, movies, music and theatre were my escape from reality, but my eyes began to ‘sweat’ as Janet Dacal sang this one. Side Note: those currently required face masks serve a dual purpose as they quickly absorbed the tears as they trickled down my face.

Moving on to an equally sweet, but slightly less somber event of an evening out on the town in Bet Hatikva, Haled joins Papi and friends as the fifth wheel of a double date at the skating rink. On the way he stops by the payphone as it is ringing and leaps in front of Telephone Guy to answer it. It is the embassy confirming they’re indeed stuck till the morning bus. During his conversation, Telephone Guy is seen nervously rolling the hem of his sweater between his finger and thumb and tugging at it anxiously. Another almost unnoticeable stage direction that, if it drew your eye, you’ll understand and appreciate a later revelation all the more. At the rink, Papi expresses his anxieties of romance to Haled courtesy the tune “Papi Hears the Ocean”. Ever the romantic, Haled encourages Papi with “Haled’s Song About Love”. 

As the scene shifts back to Dina and Tewfiq, an ill-fated current romance temporarily and accidentally interrupts their evening, but all is not lost as they take a walk to the park. Not actually a park, but a solitary bench, Dina paints the picture of a park with her imagination, a perfect symbol for survival in a nowhere town. A pivotal moment in their burgeoning relationship comes by way of “Itgara’a”, a song Tewfiq sang to his wife in his native language. As he sings, Dina, who doesn’t understand his language, wonders aloud by way of another song, “Something Different” in which she questions if his accidental visit to her town might have been fate stepping in.

Just as Tewfiq begins to open up to Dina and she begins to see perhaps a future with him beyond their change night together, Haled interrupts with news that the bus will indeed pick them up in the morning. The news instantly returns Tewfiq to his role as Colonel and he rushes off without even a goodbye. Dina then examines the meaning of their budding relationship with a Reprise of “Something Different”, after which, if by instinct of simply pent-up romantic tension of her night out with Tewfig, she kisses Haled after he offers a patented, but meaningless compliment of her eyes.

Having provided a bit of comic relief throughout the show as he’s seen looming over the payphone, Joshua Grosso’s moment to shine comes front and center as the show’s 11th hour tune, “Answer Me” during which he questions his devotion as he is joined by his friends and neighbor, all longing for answers. Some long questioning like Itzik and Iris, others seeking answers to the evening’s events like Dina, Papi and Haled.

When I first saw the film, I remember being touched by the smallness of it, the intimate nature of it. Having grown up in a small town myself, I not only related, but relished in it. In preparation of my recent Rapid Fire Q&A with Kendal Hartse (check it out HERE), I watched the film again and checked out a few items online about the Broadway adaptation. I noticed a few nay-sayers who felt the intimacy of the piece was lost between it’s off-Broadway small capacity venue and Broadway or the National Tour, but in the audience last night, I felt none of that. The touring company, while small in number compared to some of the blockbuster, effects-heavy, crowd-pleasers that contain full-on show-stopping grandiose mega-numbers, complete with pyrotechnics, have absolutely nothing on the heart, warmth and charm of The Band’s Visit. From it’s fast-paced, quickly established and fully fleshed-out storylines and characters to the much-praised—and rightly so—score and poignant and clever dialogue, The Band’s Visit is a visit you’ll not soon forget.

The Band’s Visit continues the Nashville leg of its National Tour with shows at TPAC’s Jackson Hall Wednesday, October 20 thru Sunday, October 24. To purchase tickets, CLICK HERE.

As a reminder, as TPAC reopens its doors for their Broadway series, their commitment to their patron’s safety is key. To that end, attendees age 12+will be required to show proof of vaccination or a negative COVID test dated within 72 hours of their selected performance. All patrons age 6+ must wear masks inside the venue. CLICK HERE for more on TPAC‘s Patron Health initiative.

Not in Nashville or can’t make it to TPAC for The Band’s Visit? Be sure and check out The Band’s Visit website for details on upcoming tour stops in Pittsburgh, Buffalo, Worcester, Hartford, Los Angeles, Portland, San Francisco and more, throughout cities across the US through Summer 2022.

For the latest on TPAC and their upcoming Broadway Season and Special Presentations, including Disney’s The Lion King, Mean Girls, The Prom, Dear Evan Hansen, Summer: The Donna Summer Musical, What the Constitution Means to Me, Come From Away, Oklahoma! and May We All, be sure to check out TPAC online and on socials by clicking any of the following: TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

For more about The Band’s Visit, check them out on Facebook, Instagram, Twitter and YouTube.

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

It’s been a year and seven months since I last stepped foot inside TPAC for a show, so the second I heard Broadway was coming back to Music City’s beloved performing arts center, and that the first show of their revamped 2021-2022 season was The Band’s Visit, I jumped at the chance to chat with one of the members of the remarkable show’s ensemble.

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Rapid Fire Q&A with Kendal Hartse, Iris in The Band’s Visit National Tour

JHP: Before we begin, I just want to thank you for taking the time to chat with me, I know life on the road can be demanding, and I suspect, especially now, considering the past eighteen months of uncertainty where live theatre is concerned. Speaking of the global pandemic and theatre going dark, to kick off our chat, tell me how if felt to learn that the National Tour of The Band’s Visit would resume, and that you’d be part of it?

KENDAL HARTSE: Coming out of such a long period of time, not only of complete global catastrophe, but also a complete shut down of the entire industry, it was an unbelievable relief to know I had this show to return to. We shut down in Pittsburgh on March 12th and resumed again 18 months later. The idea all along was that The Band’s Visit would be remounted when it was safe to do so, and knowing that I had a job, and such an amazing job as this, waiting for me on the other side, was a life saver and helped me keep some hope on the horizon throughout everything.

JHP: What can you tell me about Iris, the character you play in The Band’s Visit?

KENDAL HARTSE: Iris is such a wonderfully complex character. She is a woman who made plans for her life, set them in motion, and is now coming to terms with the limitations of her circumstances. “End of her rope” is a phrase that often comes to mind. This is a character who receives very little help from the people in her life and has tried to push through taking care of things on her own. The night the action of The Band’s Visit takes place, Iris has reached the limit of how much she can carry on her own.

JHP: Clay Singer plays Iris’ husband, Itzik. While your onstage relationship is tense, at best, how’s Clay as a scene partner?

KENDAL HARTSE: I could not be more grateful to get to work with Clay. He is a generous, present, and exciting scene partner. It’s always a relief to get to work on tough material with actors who you know you can trust. I have to go to some challenging emotional places in the play and completely trust that Clay is there to support me and knows that I am there to support him. When the material is heavy or tense it’s buoying to have a scene partner who you really like, it makes the tough stuff much easier.

JHP: Speaking of sharing the stage, Sasson Gabay–who created the role of Tawfiq in the 2007 film upon which the show is based–is back in the role as the tour resumes. What do you admire most about his performance?

KENDAL HARTSE: There is so much to admire about Sasson both as a person and an actor. It’s an absolute gift to get to watch him every night. He fills every breath and every moment with such nuance and specificity and is always open and available to new thoughts and ideas. His performance is incredibly moving and I am in deep awe of his ability to continue to mine the material for more and more depth.

JHP: While Iris and Itzik’s marriage is, shall we say…rocky, in researching to chat with you, I discovered your real-life marriage is apparently flourishing. In fact, if my Insta-stalking, I mean…research is correct, the day before the tour comes to Nashville’s TPAC, you celebrate your wedding anniversary. Is being away from your husband the hardest aspect of life on the road?

KENDAL HARTSE: I am very blessed to be with a wonderful partner named Austin Regan who is a brilliant director and artist. Being on the road means being far away from each other for extended periods of time and yes, missing milestones like anniversaries. It is definitely one of the hardest challenges of life on the road. Luckily, since Austin is also an artist, he understands that travel and distance comes with the territory and we have gotten very good at keeping in touch and making time to visit each other as often as possible. The only thing harder than time apart is probably finding places to do laundry while traveling!

JHP: In preparing for our chat, I also discovered we have a few mutual acquaintances, among them, the remarkable LaChanze, who you appeared alongside in Summer: The Donna Summer Musical. Congrats on the Chita Rivera Awards nomination for Outstanding Ensemble for your work in that show, by the way! Aside from the Chita nom, do you have a favorite memory of your time in Summer on Broadway?

KENDAL HARTSE: Working with LaChanze was such a treat, she is absolutely fantastic. And thank you! A large portion of my career was spent as a dancer and the Chita Rivera Award nomination was truly and honor and a huge highlight of the experience. Other than that, my favorite memory of Summer would have to be experiencing the audience go absolutely wild at the end of the show. I have never heard such sheer volume of cheers and applause or seen so many people leap to their feet and start dancing along during a Broadway show. It was so fun!

JHP: Summer wasn’t your first Broadway show, having made your debut in the 2011 revival of On a Clear Day You Can See Forever, then two short years later, you returned to Broadway in the ensemble of Rodgers and Hammerstein’s Cinderella. How would you describe stepping onstage for the first time before a live audiences, whether on Broadway, or on tour?

KENDAL HARTSE: Something that I find very beautiful about being an actor is that it almost always feels the same before you step onstage. It could be in a community theatre or on a Broadway stage, but that moment before exists on its own. That moment, to me, is when everything else is still and I take the time to quiet my thoughts, take a deep breath, and prepare myself to tell a story, whatever that story is. It’s a special and sacred moment to me.

JHP: Just as Summer wasn’t your first Broadway show, The Band’s Visit isn’t your first National Tour, having been part of Cabaret’s 2016 outing. During your time with the show, you appeared, at various times as Texas, Fraulein Kost, Fritzie and in the lead as Sally Bowles. I’d imagine Sally would be a dream role for many actresses. Since you’ve already tackled Sally, is there a role that you consider your dream role?

KENDAL HARTSE: Playing Sally Bowles was such a dream role experience and honestly one I would do again in a heartbeat! There is just so much there. It’s interesting to consider “dream roles” to me. So much of my career has been in musical theatre and while I love the art form I am itching to focus on plays. Singing and dancing is definitely part of my skill set, but I definitely am an actor before anything else. So while I don’t know that I have a specific dream role, I’d love to tackle some Shakespeare or some Tennessee Williams one of these days. Sign me up for Rosalind or Stella any day.

JHP: Back to The Band’s Visit, in one of the show’s most heartfelt moments, the company joins Joshua Grosso’s Telephone Guy during the unexpectedly sombre 11 o’clock number, Answer Me. Yesterday while prepping for this interview, I not only stalked your socials, but I also rewatched the 2007 film and listened to the show’s cast album on repeat, and I’m not gonna lie, my eyes began to ‘sweat’ while listening to this number in particular. Has there been a time in your life when you were waiting for someone to Answer You?…and was it worth the wait?

KENDAL HARTSE: In so many ways I feel like we are all always waiting for someone to Answer. While the Telephone Guy is specifically waiting for the phone to ring, to hear from his girlfriend, the rest of us in the show are seeking and awaiting our own answer. I find that the more I seek, the more I hope for an answer to any question. Whether I’m waiting for a friend or a loved one to connect with me or waiting to hear about work, or looking inward and asking a question of myself, I think whatever answer comes it is always worth the wait as it brings a new knowledge and understanding of life, yourself, your situation.

JHP: Thanks again or taking time to chat with me. Can’t wait to see you and the entire company on The Band’s Visit on opening night in Nashville at TPAC’s Jackson Hall!  Alright, our time is almost up, so one final question…is there a message, an idea or a moment in The Band’s Visit that you think/hope audiences will reflect on long after the footlights dim on the show? Oh, one last thing…the closest Arby’s is on Rosa Parks Blvd, just 2 miles from TPAC.;-)

KENDAL HARTSE: I hope that audiences will reflect on the question of hope. What does it mean to wait and wait and wait for something to change? Maybe it won’t look like what you thought. Maybe it’s something small and simple but it’s enough. Thank you so much for these lovely questions and for that Arby’s location. I’ll be celebrating our Nashville opening with some Curly Fries and a Jamocha Shake!

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The Band’s Visit begins the Nashville leg of its National Tour with a 7:30p.m. performance at TPAC‘s Jackson Hall on Tuesday, October 19. 7:30p.m. evening performances continue Wednesday and Thursday, October 20 & 21. As the tour stop continues in Music City, Friday and Saturday evening performances will be at 8p.m. Saturday’s matinee will be at 2p.m. On the show’s final day in Nashville there will be a Sunday matinee at 1 p.m. and an early evening performance at 6:30p.m. To purchase tickets, CLICK HERE.

As TPAC reopens its doors for their Broadway series, their commitment to their patron’s safety is key. To that end, attendees age 12+will be required to show proof of vaccination or a negative COVID test dated within 72 hours of their selected performance. All patrons age 6+ must wear masks inside the venue. CLICK HERE for more on TPAC‘s Patron Health initiative.

Not in Nashville or can’t make it to TPAC for The Band’s Visit? Be sure and check out The Band’s Visit website for details on upcoming tour stops in Pittsburgh, Buffalo, Worcester, Hartford, Los Angeles, Portland, San Francisco and more, throughout cities across the US through Summer 2022.

For the latest on TPAC and their upcoming Broadway Season and Special Presentations, including Disney’s The Lion King, Mean Girls, The Prom, Dear Evan Hansen, Summer: The Donna Summer Musical, What the Constitution Means to Me, Come From Away, Oklahoma! and May We All, be sure to check out TPAC online and on socials by clicking any of the following: TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

For more about The Band’s Visit, check them out on Facebook, Instagram, Twitter and YouTube.

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

While Studio Tenn has continued to bring live entertainment, albeit either via streaming performances, their weekly LIVE Studio Tenn Talks chat show or with limited audiences in compliance with the past year’s global crisis, this weekend marks what we all hope will be their full return to normalcy as they partner with Artists Lounge Live to present Elvis, My Way starring Brandon Bennett, onstage at the Sondra Morris and Robert N. Moore Center for Arts and Entrepreneurship located at 336 Ernest Rice Lane in Franklin, TN on the Glen Echo campus of Battle Ground Academy.

In anticipation of the show, and my own return as an eager member of the audience, over the weekend I had the opportunity to chat with Studio Tenn‘s Artistic Director, Patrick Cassidy, Artist Lounge Live Producer, Michael Ingersoll and Elvis, My Way Star, Brandon Bennett for my very first post-pandemonium Rapid Fire 20 Q!

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RAPID FIRE 20Q WITH BRANDON BENNETT, MICHAEL INGERSOLL & PATRICK CASSIDY

Rapid Fire with Elvis, My Way star, Brandon Bennett

JHP: Alright, even before we begin chatting about your one-man show, Elvis, My Way, let’s talk about a few firsts….when did you first begin singing?

BRANDON BENNETT: I first began singing when I was around 8 years old. However, I was so shy that I would only sing for close family. 

JHP: What’s your earliest memory of realizing what an icon Elvis Presley is?

BRANDON BENNETT: I’m not sure if this counts,but I remember being drawn to his music as well as how “cool” he was, when I was about 7 years old.  I just happened to notice this guy on TV, in black & white, “dancin’ to the Jailhouse Rock!” I didn’t even know who he was, I just remember how much of an impact seeing and hearing him had on me. There was something special about him that I had never seen or heard before. 

JHP: When did you realize you not only bare a striking resemblance to Elvis, but could move and sing in a manner that evokes his essence?

BRANDON BENNETT: My mom was/ is an Elvis fan, so she is the reason I ever knew about him. When I became a teenager, she was the first to remark that I had a likeness to him. I didn’t think much of it until I began to hear it from others, especially when it started happening with people my own age, who I knew weren’t just be partial; like I had told myself was the case with my mom. Lol ! The movements seem to come natural. I remember my classmates in high school asking me “how do you move like that?!” The voice came with a little more effort. I could sing, and my tone was similar, but natural voice was not. Mainly because of how he may pronounce a word differently than I would, or make an inflection differently, or perhaps his cadence, etc. I’ve spent countless hours listening to his voice, repetitively. The next step was to take what my ear was hearing and make the transfer to my mouth. Some of it happened “naturally” at that point. I would record myself, and listen back for the differences. Rinse, lather, repeat; until I had a sound I thought was right. It was also important to me for all of this information to be so engrained that once I was on stage, I wouldn’t have to “think”. I wanted it to be as natural as possible. 

JHP: While researching to chat with you, I learned that in 2002, you won the honor of being named International Images of the King World Champion, being the youngest competitor to win that title. Is there anything specific you remember thinking in the moments before being announced the winner?

BRANDON BENNETT: Ah..yes.. I remember being so unsure of what the outcome would be. You see, this was not only my third year attempting to Win Images, but I had competed in multiple other competitions around North America in prior years. You never knew what the judges might come up with. Not to mention, winning Images appeared to be some type of  political situation, where it was said that you had to pay your dues.  I certainly knew many other talented people there, who had paid their dues.  I had received second place the two prior years, and when I received 2nd place at Images in 2000, I was floored! The whole “Elvis world” was so new to me back then. It’s safe to say that, a week shy of my 20th birthday, waiting to hear the places called for the 2002 WORLD CHAMP, I was a nervous wreck! 

JHP: One of my dearest friends performs as Cher in Las Vegas and like you, she sings and speaks live, going well beyond the moniker of ‘impersonator’. The term Tribute Artist is often used. Is that what you prefer?

BRANDON BENNETT: I’ve never taken offense to the term impersonator. I do believe there are professionals, who are able to pay tribute to someone with a high level of accuracy, and respect. It is an art, so Tribute Artist, I believe is more fitting. However, if Uncle Fred introduces me as an impersonator, I’m not gonna lose any sleep over it; as long as he thinks I’ve done right by Elvis, then I’m happy!

JHP: Now, about Elvis, My Way. How long have you been performing in this particular iteration of Elvis’ story?

BRANDON BENNETT: To some extent, I’ve been doing Elvis, My Way from the beginning. Going back to what I mentioned earlier about wanting my performance to be natural and real. I always thought it was important for my own personality to be there as well. I mean, everyone knows I’m not Elvis. I never could get comfortable with the idea of just getting on stage, and pretending to be someone else, at least within myself. Who was I gonna be foolin’?! Haha! I’m all for pretending and acting, but I needed it to be real. After all, I’m real, the audience is real, so let’s do this together. Paying tribute to someone, for me, is reminding people who that person is or was. When it comes to Elvis; he was one of kind. I want to bring back memories for people, and I want to show those, who maybe never got a chance to see Elvis, what he was like. To Answer your question, I officially began the show Elvis, My Way about 7 years ago. 

JHP: I’ve already mentioned one friend, so I might as well go for two. If you haven’t already, you should definitely check out my friend Manuel’s studio. For my readers who may not know, Manuel designed Elvis’ famous gold lame suit. He now lives here in Nashville and continues to design for many of today’s stars. On the subject of wardrobe, throughout his career, Elvis’ various ‘looks’ have all become quite synonymous with his mystique. Do you have a favorite look or period in his career that when reach that point in your show, you still get excited with anticipation of the audience reaction?

BRANDON BENNETT: Elvis certainly had quite a wardrobe! I’ve done many productions through the years where I’ve worn different Elvis looks. Part of why I decided to dive deeper into Elvis, My Way was, for me, Elvis was MUCH more than what he wore on stage. Elvis’ voice was so extraordinary, and it has been my goal, from day one, to do him justice vocally. Anybody can throw on a pompadour, a studded jumpsuit, and swivel their hips. I realized that God had given me a talent to be able to show that Elvis was more than just a guy with great hair, and a sparkly suit. I love all of those outfits just like the next Elvis fan, Elvis, My Way is more about the music, the voice, and the entertainer Elvis was. That being said, I dress more 50’s/60’s Elvis attire, and we cover The 50’s, 60’s, & 70’s eras. I believe it builds naturally, like the music did, as the show progresses. I feel like the people enjoy each moment with anticipation of knowing what’s coming down the line. 

JHP: In addition to the aforementioned International Images of the King World Champion, you’ve won other Elvis tribute titles, including competitions at Graceland where you were named Ultimate Elvis Tribute Artist and you starred in the Chicago mounting of Million Dollar Quartet. If you had to, and I guess since I’m asking, you do…describe the continued adoration of Elvis.

BRANDON BENNETT: If you’re asking why I believe Elvis is still such a phenomenon after all these years; My answer would be: He was real. He was like no other. He stayed humble, and I believe, everyone could tell how genuine, caring, and loving he was. So to some that up, haha! He was an extraordinary talent, who was, and is still able to connect with ordinary people. That’s who he was in his own mind, an ordinary person, who counted his blessings. 

JHP: From what I understand, Elvis, May Way presents The King’s journey from his humble beginnings in the world of entertainment in the early 1950s on to his legendary 1968 Comeback Special and throughout the 70s. After seeing you perform as Elvis, what do you hope audiences take away with them?

BRANDON BENNETT: Not to sound redundant, however, I hope people leave the show having their mind flooded with memories, and emotions that I believe, only music has the power to do. To remember Elvis, his music, and the entertainer he was. I hope they feel at home, and feel that I’ve done him some justice. 

JHP: Elvis famously worked with The Jordanaires. While Elvis, My Way is often referred to as a one-man-show, you share the stage with a group of talented musicians. Can you tell me a little about your backing band? 

BRANDON BENNETT: The group of men and women I work with on stage are the literal backbone of the show. I simply could not do the show without them. Literally! The anchor of our show is the rhythm section, The David Fontana Band. David Fontana, our drummer, is the son of Elvis’ first drummer, D.J. Fontana. Kenny Cramer on Lead Guitar, Wade Bernard on Bass, and Eddie Watson on Piano. They all have a list of accolades sharing the stage with artists such as: Ronnie McDowell, Englebert Humperdinck, Eddy Raven, Bobby Bare and Bill Joe Royal, to name a few. They are all great musicians as well as great people. They are like family to me. I even have them nicknamed either “Uncle”, or “Cousin”. I believe it adds a special element on stage because we are up there enjoying each other, while enjoying the music, and the crowd! 

Rapid Fire with Elvis, My Way producer, Artists Lounge Live’s Michael Ingersoll

JHP: Folks that know me often remark that I know everyone. True, to a degree, but speaking of degrees, not even Kevin Bacon holds a candle to Patrick Cassidy. Since meeting him I’m convinced you can truly connect anyone to him within six degrees…or less. So, to begin, how did you first meet Patrick?

MICHAEL INGERSOLL: Jake Speck, Studio Tenn’s former Managing Director is a dear friend and fellow Jersey Boys alum. Over the pandemic, he and I were collaborating on the creation of streaming content for AD Players in Houston where he is now the head honcho, and Jake felt that our work with John-Mark McGaha (a Studio Tenn favorite) would be a great fit for Studio Tenn as well. He introduced me to Patrick and I as immediately drawn to his enthusiasm, kindness, and love for the theatre community.

JHP: As you alluded above, theatre folk likely know you from your work onstage as The Four Season’s Nick Massi in not one, but three original companies of Jersey Boys, while live music aficionados might have seen you on tour with the vocal group Under the Streetlamp. But because I’m a nerd of all things Johnny Cash, I remember your big-screen moments as Donzil Burlison, who married Johnny’s beloved sister, Reba as seen in the 2005 film Walk The Line. In addition to your on-stage and on-screen career, you’re also a producer, creator and founding partner, alongside your wife, Angela Ingersoll, at Artist Lounge Live. When did you and Angela start Artist Lounge Live?

MICHAEL INGERSOLL: After 1300 performances as Nick Massi in Jersey Boys and 6 years of touring on the back of multiple PBS Specials with Under the Streetlamp, I was ready for a few years off the tour bus. My time with Under the Streetlamp taught me how well Broadway actors could serve the concert-going community by combining popular, nostalgic catalogues with great storytelling. I have so many incredibly talented colleagues in the Broadway and regional theatre community and I wanted to bridge the gap between these stars and regional audiences. It helped to provide additional opportunities for these folks outside of Manhattan and brought truly world-class entertainment to communities all over the country. Broadway-level experiences shouldn’t be reserved only for those who can make it to New York and can afford a ticket. My wife Angela, herself an Emmy Nominee for her PBS Special, Get Happy: Angela Ingersoll Sings Judy Garland, is the major creative force within our company. Her writing, eye for design, multi-media skills, and dedication to putting artists first is at the heart of what we do. 

JHP: How did you come to learn about Brandon and his Elvis performances?

MICHAEL INGERSOLL: Brandon spent years in the longest running production of Million Dollar Quartet in Chicago. I was working with a drummer on one of my concerts who said, “If you ever want to create a show around the Elvis catalogue, I know the guy.” Well, he sure a heck did. Once I saw Brandon and heard his treatment of these iconic songs, I knew I had the opportunity to work with someone truly special. When there was a request from David Letterman to have a MDQ cast member perform on The Late Show, Brandon was the one that got the call. I sought him out immediately. 

JHP: How much of a no-brainer was it to join forces with Brandon to present Elvis, My Way as a Artist Lounge Live production?

MICHAEL INGERSOLL: No-brainer is precisely the right word. Offering the Elvis catalogue and the stories about Elvis’ life to a live audience is truly a tall order. There are so many ways to get it wrong – to make fun, to parody, to play up the cheese factor. Brandon is grounded, authentically southern, authentically warm and humble, is an incredibly charismatic performer and captivating storyteller. He’s funny. He’s genuine. He’s generous. He’s precisely what folks who knew Elvis Presley say they loved most about The King. When you see the real deal standing in front of you, you hope you have the privilege to make something special together. Luckily, I’ve been able to have that privilege. 

JHP: As the world of performing arts comes back to life, what’s next for Elvis, My Way? What’s next for Artist Lounge Live? What’s next for you and Angela?

MICHAEL INGERSOLL: The future of Elvis, My Way, of Artists Lounge Live, and of anyone in the performing arts hinges on when and how strongly audiences will return to live performance venues. It’s entirely up to the people. I hope that folks increasingly conduct themselves responsibly to protect themselves and others so that we can give them what we so badly want to: joyful experiences of music, connection, and community. For those of us hanging on by our fingernails after the last 18 months, that time can’t come soon enough. We hope that our concert in Nashville is the start of that much longed-for time. 

Rapid Fire with Studio Tenn Artistic Director, Patrick Cassidy

JHP: When I chatted with Michael, I asked how you two met, so in a similar vein, can you tell me how Studio Tenn came to collaborate with Artists Lounge Live?

PATRICK CASSIDY: Jake Speck recommended Michael and his company, Artists Lounge Live. John-Mark McGaha (a longtime Studio Tenn Performer) was doing a Stevie Wonder tribute and we wanted to Live Stream it for Studio Tenn. Michael and I spoke for some time on the phone about the company, the tribute, John-Mark himself, and I wanted both Michael and John-Mark to appear on the Studio Tenn Talks. They were both terrific, and that forged a relationship that has brought us to this moment. I hope that it’ll be a long partnership. 

JHP: In researching to chat with you about this show, I may have stumbled upon a mention of Priscilla Presley and Lisa Marie visiting your Mom, Shirley Jones and your brother, David Cassidy on the Partridge Family set. Do you recall ever hearing any stories about that, or do you remember your first knowledge of Elvis as this larger than life entertainment superstar?

PATRICK CASSIDY: No, I don’t recall hearing about Priscilla and Lisa Marie on the Partridge Family set. That said, I suspect it is true. I know many celebrities visited the set, and several were guest stars on the show itself. I’m sure since David was at the top of the teen idol charts, it would have made sense that Elvis’s wife and daughter wanted to meet him. Elvis and his music was always in my home growing up. Both my older brothers made sure of that. 

JHP: While Studio Tenn has presented a few virtual performances and limited audience presentations throughout the last year, Elvis, My Way–in some ways–marks not only Studio Tenn’s return to full-scale performances, but also, in a way, presents a post-covid take on Studio Tenn’s Legacy Series, in which a single music legend’s musical catalogue is featured. Of course Studio Tenn’s Legacy Series typically features several performers while Elvis, My Way showcases Brandon Bennett as The King in what is in essence a one man show. Did the similarities between the Legacy Series and Artist Lounge Live’s Elvis My Way make it an obvious an organic choice to be included in Studio Tenn’s new season?

PATRICK CASSIDY: It made sense given the time factor of wanting to slowly return, and allow people to come back to live perfomance. We still plan to do our Aretha Legacy in the spring of  2022. Also having a show that is already set and ready to go, was a huge asset in production preparation. You are correct though, it does manage to give our audience an Elvis (Type) Legacy. 

JHP: What is it about Brandon as Elvis in this production that you are most excited for Studio Tenn audiences to experience?

PATRICK CASSIDY: Brandon is the best Elvis I have seen. And while I was not looking for an Elvis impersonator, I wanted a performer who does Elvis’s catalogue of music and can Rock the House. Get those tickets for Aug. 6th – 8th and come see what I am talking about. 

JHP: What’s next for Studio Tenn?

PATRICK CASSIDY: So many things to look forward to. Studio Tenn Talks just returned Monday Aug. 2nd with the amazing Audra McDonald. 

Our 3rd Cabaret on Stage….and Intimate evening with Shoshana Bean. Two shows at 2:00pm & 7:00pm on Aug. 21st at TPAC‘s Polk Theatre.

On Nov. 13th my brother Shaun Cassidy will be doing a fundraiser for Studio Tenn. Tickets will go on sale shortly. This will kick off our December Season with two shows to be announced. There’s also a New Year’s Celebration to look forward to. I can’t wait to launch it all. 

——————–

Studio Tenn and Artists Lounge Live presents Elvis, My Way Starring Brandon Bennett onstage at BGA’s Sondra Morris and Robert N. Moore Center for Arts and Entrepreneurship opens Friday, August 6 and runs through Sunday, August 8 with shows Friday and Saturday evening at 7pm and a Sunday Matinee at 2pm. CLICK HERE for tickets.

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

Not only did Schitt’s Creek make history tonight by being the first Comedy Series in Emmy history to win each of the four major awards and Best Comedy Series in the same year, they also broke Mrs. Maisel’s 2018 and 2019 record of eight wins each of the previous two years.
Schitt’s Creek’s wins include: Best Comedy Series, Best Actor in a Comedy Series (Eugene Levy), Best Actress in a Comedy Series (Catherine O’Hara), Best Supporting Actor in a Comedy Series (Daniel Levy), Best Supporting Actress in a Comedy Series (Annie Murphy), Best Directing for a Comedy Series (Andrew Cividino and Daniel Levy), Best Writing for a Comedy Series (Daniel Levy), as well as two technical awards Best Casting for a Comedy Series (Jon Comerford and Lisa Parasyn) and Best Contemporary Costumes (Darci Cheyne and Debra Hanson) which were awarded at the Creative Arts Emmy celebrations last week.
Oh and all those statuettes secured Dan Levy an elite spot alongside Making a Murderer’s EP/Director Moira Demos and Maisel’s Writer/Director Amy Sherman-Palladino as the only three individuals to win four Emmys for their work on a series in a single year. What’s more, Levy is the only comedy series Creator, Writer, Director and Star to win four Emmys in a single year.

Alright, because I’ve not written anything since the world of entertainment basically shut down as a result of the pandemic, I decided to get back into it after watching SCOOB! from the comfort of my own living room last night.
The new cgi full-length feature film was to have been the first-ever animated Scooby Doo theatrical release, but was released yesterday exclusively for home viewing instead.

If you’re a fan of Hanna-Barbera, especially the legendary animation studio’s 60s/70s Saturday Morning fare, you’ll love all the winks, nods and Easter eggs included in the film!

Just a few that I spotted…

*There’s mention of Shaggy’s birth-name.
*One of Shaggy’s childhood bullies looks a bit like The Joker (Warner Bros. who owns DC Comics’ Batman and related characters, is also the current parent company of Hanna-Barbera).
*Young Daphne is dressed as Wonder Woman for Halloween (Even before Hanna-Barbera was absorbed into WB, they did the animation for 1970s-80s Super Friends, which includes Wonder Woman).
*Shaggy’s room is a treasure trove of nods, from a Blue Falcon Funko POP dressed in Blue Falcon’s original costume to a Batman-looking action figure.
*Shaggy and Scooby go bowling at Takomoto Bowl, a wink to longtime Hanna-Barbera producer and director Iwao Takamoto who was instrumental in character design for the Scooby Gang.
*Dee Dee Skyes, The Falcon Fury’s pilot and Blue Falcon’s tech geek, was a member of The Teen Angels (HB’s Charlie’s Angels-esque trio of teen investigators who discovered Captain Caveman…who also appears later in SCOOB!)
*Dick Dastardly and Muttley who figure prominently in SCOOB!, were both part of HB’s Whacky Races in the 60s. Even Dick Dastardly’s spaceship is a throwback to his racecar, fin and all.
*A major plot involves the search of an ancient skull called the Slaghoople. Yup, that word might be familiar to some because it’s Wilma Flintstone’s maiden name.
*Fred appears sans ascot throughout the film, but there’s two clever references to his trademark neckerchief.
*In a non-HB-related, but much appreciated nod, Velma, one of cartoondom’s first smart, free-thinking girls, pays homage to Justice Ruth Bader Ginsburg with her Halloween costume.
*The opening credits of the original 1969 series, Scooby Doo, Where Are You?—theme song and all—are recreated by way of glorious cgi during a classic musical chase sequence…the musical chase sequence itself a wink to a classic Scooby segment included in every episode.
*There’s even a celebrity guest cameo, just like all the famous guests stars from Scooby’s second series, 1972’s The New Scooby Doo Movies.
*When the action of SCOOB! moves to an amusement park, Funland it’s a wink to the
Where Are You, Scooby Doo? Season 1 episode, Foul Play at Funland. In the original episode, there was a sinister robot. Even the robot is seen in the aforemention musical sequence.
*While at Funland in SCOOB! there’s HB references a plenty as arcade games and posters feature images and names from favorites like Scooby’s All-Star Laff-A-Lympics and characters Hong Kong Phooey, Penelope Pitstop and even The Hex Girls (that last one a reference to a 1999 Scooby adventure that featured Jane Wiedlin of The Go Gos).
*When the gang solves the mystery, there’s the patented ‘unmasking’ a twist on the iconic ‘I would have gotten away with it to, I’d it hadn’t been for you meddling kids’ line and a glimmer of hope for further sequels and more adventures when they get a call about a mysterious sea captain…could it be Captain Cutler, the villain from Scooby Doo, Where Are You? episode 3?
*The end credits are also resplendent with imagery of characters from the Hanna-Barberaverse. Among my favorites that I spotted, Jabber Jaw!
*I mentioned in a previous Facebook post there’s a character in SCOOB! named Officer Casey, a likely wink to Casey Kasem who voiced Shaggy for many years. There’s also a character named Frank, and while it’s a common first name, it’s gotta be in honor of Frank Welker, who voices Scooby in SCOOB!, and who has voiced either Scooby or Fred on just about every Scooby Doo adventure ever made.

I’m sure I missed several other Easter eggs. When you watch SCOOB!, lemme know.
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