JHP Entertainment

Last night, Thursday, February 10, Nashville Repertory Theatre presented Opening Night of the regional debut of Jocelyn Bioh’s Off-Broadway hit, School Girls; or the African Mean Girls Play, the first production in The Rep’s long history to feature an all Black Female cast. I was scheduled to attend in order to review the show, but sadly, had to miss out last-minute. Lucky for me, though, earlier this week, I had the opportunity to pose five questions each to Tosha Marie, Joy Pointe, Cynthia Harris and Tamiko Robinson Steele—four members of the cast—for my latest Rapid Fire 20 Q.

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RAPID FIRE 20Q WITH CAST OF SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY

RAPID FIRE Q&A WITH TOSHA MARIA, SCHOOL GIRLS’ ERICA BOAFO

JHPENTERTAINMENT: What can you tell me about Ericka Boafo?

TOSHA MARIE: Ericka is an American girl who is thrown into this new country/culture and is trying to figure out who she is and how she fits in during a very difficult time in her life. She is hopeful and is looking to make some new friends in this foreign land she now calls home while still battling some inner demons. She also looks different from everyone else! So she is navigating being the lightest girl in the school and how that affects her confidence and social standing, and as these things tend to be… It’s never quite as simple as you think. 

JHPENTERTAINMENT: In addition to acting, Nashville’s theatre community is also very familiar with your work as a choreographer. In fact, you recently choreographed Nashville Rep’s Ragtime. I’d imagine your background in dance might give you an extra understanding of the importance of subtle movements that often help the audience understand a character even when they’re not speaking. Do you think that’s a fair assessment?

TOSHA MARIE: That’s very fair! Even though there isn’t any dancing in the show, I am physically exhausted by it because of the tension I hold in certain areas of my body. There are moments when Ericka is super unsure of herself and the physicality that it evokes in me is a different way than how I live my life. You don’t learn that much about Ericka until closer to the end of the play, so putting all of her background into my physical being is very fun for me. You can kinda be like… ok, what is going on with this chick? Also, it’s very hard for me to not move so that presents its own challenges as I tend to twirl and bob about a lot and Ericka is not really a dancer like Tosha is!

JHPENTERTAINMENT: This is the first time School Girls has been performed in Nashville, so it’s pretty safe to say the majority of the audience won’t be familiar with the show. How exciting is it to in essence, create a role for a particular audience?

TOSHA MARIE: Exciting and terrifying! Haha! I want to do her justice because there aren’t very many roles created about this topic for people that look like me and I know this might be the first time some people may hear this type of story be told. So I hope people like her and relate to her and learn a bit more about what it means to be a light skinned black woman.

JHPENTERTAINMENT: When not involved in live theatre productions, you also own and run TMProductions, a successful dance studio and performing arts space. You recently posted about your company’s diversity initiative. Can you tell me a little about that and the passion behind it?

TOSHA MARIE: Gladly! I started TMProductions because I was really tired of the cliquish and elitist nature of the Nashville theatre scene. Connected people meeting other connected people in their small privileged circles was causing me to have to continue to fight to be seen by professional companies to no avail, even though I’ve been in the business for over a decade and felt like I had proved my worth on many occasions. So when I lost all my income in 2020 I decided to do something about it. I had spent so long hustling for scraps from other companies, it was time to hustle for myself and try to make it easier for other people to break into the business. Thus TMP was born. Our mission states “TMProductions exists to serve the driven and underrepresented creative. We provide equity with access to knowledge, clarity of what it takes to have a career in the performing arts, in-house resources and opportunities to support that pursuit, and an intentional safe, inclusive atmosphere that nurtures, honors, and celebrates the authentic and unique self.” So with our popularity increasing and more theatre companies coming to us to have auditions and rehearsals we felt like we had to have a concrete policy regarding diversity as most of the organizations approaching us were predominately white with non-existent/tense relationships with the BIPOC community. So many people have expressed their struggles with me that I couldn’t not do something to help my community. Our policy encourages diversity from cast and crew, to leadership positions within the organizations hopefully creating positions for traditionally marginalized groups. I must say, as nervous as I was about it, I think it will make an impact on our local scene and I hope you can start to see a beautiful array of talent on and behind the stage starting next season. 

JHPENTERTAINMENT: School Girls touches on the subjects of conformity, sameness and fitting in, first and most obviously in the subtle costume concept of the girls all wearing uniforms, but also in the inclusion of a subplot involving the practice of bleaching one’s skin. As a light skinned Black woman yourself, can you speak on the struggle of fitting in while also being individual enough to stand out?

TOSHA MARIE: Well, blackness often gets lumped as a monolith of experiences with light skinned people being seen as getting more privileges. Which can be very true. I see more casting calls for “ethnically ambiguous” people (aka lighter skinned) than I do for dark skin. But what people don’t always know is that being biracial is its own struggle. Feeling like you don’t belong with either white or black identities, and when growing up, there were very few other biracial children to relate to. My mom was born in the 60’s during the civil rights movement, so her whole generation started their lives segregated. The fact that she, as a white woman, had me out of wedlock with a black man was a huge scandal in the south. So out of all of my years of education I can literally name 2 other mixed kids that I went to school with. Which means by nature, I stood out. All I wanted was to fit in. A lot of times I was too white for the black kids and too black for the white kids. So I did my best to just be me. There has been a lot of searching to figure out who that is, and I still struggle with it today, but I’m learning to love and appreciate myself and my identity. This cast and creative team have created such a safe and encouraging space to explore that and really help each one of us in not only this artistic endeavor, but our personal journeys as well.

RAPID FIRE Q&A WITH JOY POINTE, SCHOOL GIRLS’ PAULINA SARPONG

JHPENTERTAINMENT: Tell me about Paulina Sarpong.

JOY POINTE: Paulina is a senior at Abri Girls School, and the queen bee of her friend group. Paulina operates in cruelty and pettiness to hide her own insecurities and fear of being left out, left behind, or forgotten. She uses the word “influential” for herself at least twice in the show, and that’s exactly how she wants and even needs to be seen. If someone could be described as strong and scared, I think Paulina would fit.

JHPENTERTAINMENT: This production of School Girls is the very first production in Nashville Rep’s 37 year history to feature and all-Black female cast. What’s it like knowing you’re making history?

JOY POINTE: It is humbling and incredible. It took me a very long time to really love every part of my very black self. I grew up hearing “you talk White,” and “I’m more Black than you,” from a lot of White people around me, and I wasn’t confident in who I was. Now I know that what I experience IS the Black experience because I am Black and I’m Proud. I’m honored to be Black History happening right now.

JHPENTERTAINMENT: Your role as Paulina marks a return to Nashville Rep’s stage. What is it about the company that drew you back for this show?:

JOY POINTE: I absolutely love working for Nash Rep. This company as a whole is inclusive, down to earth, and protective. I’ve never felt more safe doing a production in a pandemic world. The communication with different departments and levels of admin is great. The whole staff is always supportive in getting us what we need to make a production happen, and I couldn’t be more thankful.

JHPENTERTAINMENT: All of the action of the play takes place in the cafeteria of the school. Do you think that was a purposeful decision by the playwright, Joselyn Bioh? Perhaps to present school as a microcosm of society as a whole?:

JOY POINTE: I do believe the setting choice was purposeful, maybe even in a deeper level than just convenience of staging. Obviously, it’s easier to play in one space without having to move set and staging and adding a bunch of crew members if you keep it in one place, but it can be said and even observed that this setting is just a fractional look into what can be seen in the grander view.

JHPENTERTAINMENT: Without giving too much away, during the course of the play, the audience is privy to Paulina’s own insecurities and the source of her attitude towards others and her behaviors. How important is the message in School Girls to break such cycles of infighting and bullying among young women, not just young Black women, but all young women?:

JOY POINTE: Honestly, and without giving too much away, I don’t believe the main focus is about breaking bullying cycles. It’s a narrative we’ve heard and seen over and over again. Even most young people are familiar with it, understand underlying reasons for bullying, and are encouraged to be kind because you never know what others are going through. There’s so much more in this story that I believe people will be taught, maybe even for the first time.

RAPID FIRE Q&A WITH CYNTHIA HARRIS, SCHOOL GIRLS’ HEADMISTRESS FRANCIS

JHPENTERTAINMENT: What can you tell me about Headmistress Francis?

CYNTHIA HARRIS: Headmistress is dedicated to protecting and educating all her students.  She loves her girls and wants to help them succeed through education. 

 JHPENTERTAINMENT: When the audience first see’s Headmistress Francis interacting with the fabulous Tamiko Robinson Steele’s Eloise Amponsah, they’re quick to see parallels between their relationship and that of Paulina and Ericka. This points to the adage, as Dame Shirley Bassey once sang, “its all just a little bit of history repeating”. How important is it to recognize the patterns of tearing each other down to give one’s self the sense of building themselves up?

CYNTHIA HARRIS: I think both pairs show us what happens when our power, or part of our identity is challenged or threatened.  Eloise has her pageant title and Paulina feels security in being leader of the pack.  Ericka and Headmistress interrupt Paulina and Eloise’s narratives.  

JHPENTERTAINMENT: From what I understand, that this marks your Nashville Rep debut?  How has the experience been so far?

CYNTHIA HARRIS: Yes, this is my Rep debut.  I stepped into the role the night before rehearsal began to replace another actor.  It was an immediate YES to work with Alicia on this play.  It has been a  wonderful experience.  We’ve bonded and I think I’m now an official auntie to many of my castmates.  Alicia Haymer, the show’s director, created a space for us to explore the text, the colorism experienced by women of color across the African Diaspora, Western or Colonized Beauty standards, and so much more.  It is a joy to walk into rehearsal and play with each other.  

JHPENTERTAINMENT: You, yourself are a playwright. Given that, how does that enhance your performance in this role?

CYNTHIA HARRIS: I love stories about Black women. I love understanding the nuance and complexity of our lives and our decisions.  I’m in my happy place with this play by Ms. Bioh. 

JHPENTERTAINMENT: Beyond School Girls, among your future projects, Actors Bridge Ensemble will soon present your original play The Calling is in the Body. What can you tell me about it?

CYNTHIA C. HARRIS; TCIITB is about a young HIV Educator in the 90s, Deidre Williams.  She was the first African American to share her status and work as a peer educator.  I met her as a teen and she’s had a lifelong impact on me.  Over the past few years, I’ve met and interviewed people that remember her work with Nashville CARES, worked with her, cared for her, or were her friends.  I’m excited to lift her name and to make sure that her impact can still be felt.  

RAPID FIRE Q&A WITH TAMIKO ROBINSON STEELE, SCHOOL GIRLS’ ELOISE AMPONSAH

JHPENTERTAINMENT: Alright, it’s no secret that you are one of my theatre crushes. I just adore everything you do. Who is Eloise Amponsah and what does she represent to you?

TAMIKO ROBINSON STEELE: Awwwww Jonathan! Flatter me darling, flatter me! lol Ms. Amponsah represents the idea of “It’s a dog eat dog world!” She feels that she has had to fight for everything, and has been overlooked. She will do everything *in her power* to “win.”

JHPENTERTAINMENT: Aside from the character you portray, do you recognize aspects of the other girls in people you knew when you were in school, yourself?

TAMIKO ROBINSON STEELE: Of course! Even myself. I was more shy and sensitive in grade school, and so I would’ve identified with Nana. 

JHPENTERTAINMENT: Growing up, I think most people deal with bullying to some degree. Some, like the character, Paulina, are the aggressor, while others, like Ama, Mercy, Gifty and Nana, bear the brunt of the bullying. What’s the lesson to be learned from such behavior?

TAMIKO ROBINSON STEELE: DON’T DO IT! That’s so much easier to say, I know. But I think it’s important when people notice that behavior that they speak up. Be a voice for the voiceless. 

JHPENTERTAINMENT: While the title of the show fully acknowledges some slight similarities between this play and Tina Fey’s Mean Girls, School Girls touches on and deals with much heavier themes in a more serious manner. How do you find a balance between the seriousness of the subject matter on stage and an enjoyable work experience behind the scenes?

TAMIKO ROBINSON STEELE: I just have to be present. Take it all in. We did some amazing work with an emotional support coach in the rehearsal period. I try to remember the exercises we did, and lean in to those to cover my real self outside of the character. 

JHPENTERTAINMENT: Speaking of balance, the show is perfectly balanced with humor and thought-provoking circumstances. What do you hope audiences take away after seeing School Girls; or the African Mean Girls Play?

TAMIKO ROBINSON STEELE: I hope they leave thinking of the people who have had to walk through life with society pressing down on them. I also hope they feel the love and joy, that even under those circumstances, black women carry. 

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School Girls; or, the African Mean Girls Play continues its Tennessee debut run at Nashville Repertory Theatre now through Sunday, February 20 with evening performances at 7:30p.m. Feb. 11, 12, 17, 18 & 19, and 2p.m. matinees on Feb. 13, 19 & 20. A quick look at The Rep’s ticketing site reveals limited tickets remain for each performance, so you better act fast. CLICK HERE to purchase tickets.

Up next at Nashville Rep is Disney and Cameron Mackintosh’s Mary Poppins playing April 28-May 8, 2022 in TPAC’s Andrew Johnson Theatre. Check out Nashville Rep online HERE and follow them on Facebook, Twitter, YouTube and Instagram.

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

 

On Tuesdays we wear pink. No, that’s not an autocorrect or typo. It was just the apparent preferred outfit of the day (#OOTD if you speak internet abbreviations) of many patrons attending Nashville’s Opening Night of Mean Girls National Tour and the hilarious Broadway show settles in at TPAC now thru Sunday, February 13 for their Music City tour stop. Of course the fit choice and misquote above are in reference to one of Mean Girls’ most quotable quotes when The Plastics, the girls that rule the school proudly proclaim to new girl Cady, “On Wednesdays we wear pink”.

Based on 2004’s teen comedy of the same name, from the brilliant mind of SNL alum, Tina Fey, the Mean Girls musical presents a cautionary tale about teens trying to fit in while simultaneously hoping to stand out. Though it’s based on the 2004 film, and does indeed contain the majority of the source material’s now quotable lines and catchphrases, the creative team wisely chose to update the pop culture references. This is evidenced even before the action begins as the scrim on stage is projected with images from the burn book, revealing current trash talk slang and digs.

As mentioned, this is a cautionary tale. Heck, the opening number is even titled A Cautionary Tale, in which emo-ish Janis (Mary Kate Morrisey) and the fabulously “too gay to function” Damian Hubbard (Eric Huffman), though song, neatly explain the primary plot of how far one would go to be popular.

The subjects of Janis and Damian’s warning are new students Cady Heron (Danielle Wade) and the aforementioned Plastics: Karen Smith (Jonalyn Saxer), Gretchen Wieners (Megan Masako Haley) and Plastics’ queen bee, Regina George (Nadina Hassan). Offering a hilariously relatable take on the tried and true fish out of water scenario, Cady’s family have recently moved from Kenya to Illinois, and as Cady soon learns and extols in the show’s second number It Roars, she’s basically traded one jungle for another. Even the school mascot is a lion and It Roars cleverly marks the similarities between the animals of the jungle and the animalistic traits of teens. As if the lion mascot and pride lands comparisons weren’t blatant enough, even the LED set design of It Roars smartly spoofs that other pride lands musical…you know the one. In fact, it just wrapped its latest Nashville visit last month, but I digress.

On her first day at North Shore High, Cady meets Janis and Damian. In the cafeteria, Damian channels the likes of Gene Kelly and Old Hollywood musicals as he poses the age old high school hierarchy query Where Do You Belong?. Y’all! I’m here to tell you the number’s all-in, over-the-top tray-ography is the best high school musical lunchtime number since Hot Lunch from OG high school musical movie, Fame. Think Stomp meets 42nd Street and you’re almost there.

Meet the Plastic, simply does as it suggests, it serves to introduce Cady (and the audience) to Regina and company. Regina begins the number with a sultry and seductive sequence that beautifully showcases Hassan’s vocal talents. Next up, it’s Gretchen’s intro featuring a fast-paced frantic tempo, perfectly mimicking the character’s position in regards to Regina. Masako Haley plays the unconfident second fiddle to the hilt. Lastly, Saxer’s Karen wraps the intro in the most concise and brief way imaginable. Spot on for the seemingly vapid Karen.

As is the case with most teen stories, in addition to the clique system, there’s also, inevitably, a love story. To that end, meet Aaron Samuels (Adante Carter), with his chisled features, no wonder Cady finds herself falling in Stupid Love at first sight. Spoiler Alert: Aaron is Regina’s ex. (Ok, so that shouldn’t be a spoiler alert to many, considering the movie upon which all this is based was released nearly 20 years ago).

Next up, it’s time for Morrisey’s Janis to shine as she warns Cady not to get too close to Regina in Apex Predator. Not to sound as dim as Karen, but I had never heard the term before, so I looked it up. This is one of my favorite moments in the entire show. Here’s the thing though, the entire show is filled with favorite moments. While attending Tuesday’s performance, my friend Kat Bailess and I found ourselves saying “that’s my favorite number so far” after pretty much every single numbers.

Not long after, Masako Haley’ Gretchen gets the spotlight in the telling What’s Wrong with Me? With lyrics like “Mama called me beautiful but I don’t believe that anymore”, it’s an anthem of uncertainty, that’s no double relatable to each and everyone who’s ever had even the slightest doubt about their place in the world. I’ve a feeling these past two years have made us all a little more uncertain on this front. Again, a prime example of the variety of tunes featured throughout the show. Some might say that makes this production formulaic, but to me, if honors the genre of musicals as a whole, from the expected big production numbers to the more intimate glimpses into the characters’ very souls.

Sexy follows. For fans of the movie, this is the Halloween costume party sequence. Saxer’s Karen is brilliantly funny in this number, as are some of the costumes, including Sexy Corn, Sexy Jaws, Sexy Abe Lincoln, Sexy Eleanor Roosevelt and yes, Sexy Rosa Parks. Choreo for this number also lives up to its name with a little shimmy, shake and the occasional bump & grind. Pretty sure I saw nods to everything from Hamilton to Magic Mike amongst the moves throughout Mean Girls, and I loved every one of them.

The remainder of Act 1 continues to escalate the drama. First Regina reveals to Aaron that Cady has a crush on him while simultaneously—and purposely—luring him back to her with Somebody Gets Hurt. Janis, Damian and Cady join forces to retaliate during Revenge Party. Then Fearless sees a shift in power as Cady stands up to Regina and in doing so, gets support from Karen and Gretchen, all four numbers lay the groundwork for the action of Act 2.

Following intermission, Damian, realizing Cady’s in too deep advises with the show’s most tap-tactic number, Stop. Next, Gretchen offers up a reprise of What’s Wrong With Me?. Then Kevin G (Nashville’s own Kabir Bery) who’s been primarily background during Act 1, steps front and center alongside Cady, Gretchen, Karen and the ensemble for the high energy Whose House is This? There’s just something magical about seeing a performer back in their hometown and whether the majority of the audience knew it or not, the energy of that performance was high octane fabulousness.

Another highlight of Act 2 comes midway through with World Burn. Yes, this is the moment when Regina takes the Burn Book and uses it to take down Cady. The lighting, the digital images and Regina’s stark, sinister monochromatic black on black fit blend perfectly illuminate the sinister nature of her actions.

Of course, like all teen drama, real of fictionalized, everything eventually wraps up in a neat little happy ending package but not before yet another high energy rap courtesy Kevin G, more revelations from Cady and a touching final number, I See Stars.

As she had done for the 2004 film, Tina Fey wrote the book of the musical, while husband Jeff Richmond (30 Rock, SNL, Unbreakable Kimmy Schmidt and more) wrote the music and Nell Benjamin (Legally Blonde, Because of Winn Dixie) crafted the lyrics. The entire creative team deserves praise, including director and choreographer Casey Nicholaw, scenic designer Scott Pack, costumer Gregg Barnes, et al.

Mean Girls continues its Nashville tour stop through Sunday, February 13. Curtain for Tuesday the 8th -Thursday the 10th is at 7:30p.m. Friday the 11th’s performances begins at 8p.m. Saturday the 12th and Sunday the 13th are two show days with a Saturday matinee at 2p.m., a Saturday evening performance at 8p.m. and a Sunday matinee at 1 and early evening performance at 6:30p.m. CLICK HERE for tickets or more information.

As TPAC continues their commitment to their patron’s safety, certain protocols are in place. 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 Mean Girls? Be sure and check out Mean Girls‘ official site for future dates as the national tour continues. You can also follow Mean Girls on Facebook, Twitter, YouTube and Instagram.

For the latest on TPAC and their upcoming Broadway Season and Special Presentations, including 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.

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

 

 

Mean Girls, the Broadway musical based 2004, hilarious coming-of-age story written by Tina Fey is making Fetch Happen right here in Music City as the National Tour comes to Nashville’s TPAC February 8-13. With less than a week until all of Nashville will be conspiring to add names to their burn books, and wearing pink, regardless of whether it’s Wednesday or not, and I recently had a chance to chat with two of the stars of the show, Jonalyn Saxer, who’s playing my favorite member of The Plastics, Karen and Nashville’s own Kabir Bery, who’s playing everyone’s favorite smooth-talking mathlete, Kevin G. What follows are those conversations, first with Jonalyn Saxer, and then, Kabir Bery.

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RAPID FIRE WITH MEAN GIRLS‘ KAREN, JONALYN SAXER

JHP ENTERTAINMENT: Before we even really get started, I just gotta say it…I love your first name! I mean those of us with similar spellings have to stick together, right? So, is it a family name, or, like my folks, was it something your parents just liked and thought sounded good?

JONALYN SAXER: Thanks! My parents named me after my grandparents on my Dad’s side, Kay and John. So they wanted a female version of the name John, and found “Jonalyn” in a random baby names book! Then my middle name is Kay. I do go by a lot of nicknames though, I get called Jon, Jonni, JK, or even just J sometimes!

JHP ENTERTAINMENT: From what I understand, you’ve been with Mean Girls from the very beginning first as an ensemble member in the labs and out of town tryouts, then onto the Broadway company and for the last few years, the tour, During that time, what other roles have you covered besides your current as Karen?

JONALYN SAXER: Correct! I originated the Ensemble track named Taylor Wedell (who is also the girl who doesn’t go here), and I understudied Karen, Cady, and Regina. 

JHP ENTERTAINMENT: Of course Mean Girls is based on the movie of the same name, the brainchild of Tina Fey. In fact, Tina even wrote the book of the musical, with Tina’s husband, Jeff Richmond and Nell Benjamin providing the music and lyrics respectively. To my way of thinking, Tina is this generation’s Lucille Ball. She’s hilariously funny, ridiculous talented and just as impressive as the talent or the creative force behind the scenes. What’s been your most cherished aspect of working with her, Jeff and the entire creative team?

JONALYN SAXER: What I love about Tina, Jeff, Nell, and Casey is their willingness to let you be you, and their openness to change. The show went through so many different versions from the lab, to the out of town, to broadway, and even with some changes on tour. They weren’t precious with anything, if it wasn’t working, they’d come in the next day with a whole new scene or a whole new song. I think we had something like 7 new songs going into broadway rehearsals from the out of town. That kind of work environment gives everyone the freedom to try things that might fail, and to be creative and grow in the process. I also appreciate that throughout it all, they always encourage us to be our own version of the characters. When I was in rehearsal for the tour, they made sure I knew that I didn’t have to be Kate. I had the freedom to do my own version of Karen. Which you don’t always get in a show. 

JHP ENTERTAINMENT: If my research proves correct, during your time as a member of the Broadway production, you stepped into the role of Karen some fifty times. Do you remember anything specific about your first night as everyone’s favorite pink-wearing seemingly ditzy blonde member of The Plastics?

JONALYN SAXER: I remember getting off the subway at 50th station, on my way to my normal call for my ensemble track, turning off airplane mode, and getting about a dozen calls and messages from our Stage manager and our dance captain. I walked into the building, went straight to the office and said “so I’m on? Okay!” It all was really a blur, but I remember Ashley Park being just so, so supportive. She even said at one point during the show “you’re doing great! You could literally just play this role!” And here I am now, doing just that! I also remember that I was so nervous during the entrance, that my mouth got so tense from being frozen in a smile while Regina is singing, that it started twitching so bad. I must have looked crazy.

JHP ENTERTAINMENT: While Amanda Seyfried originally brought Karen to life in the film, with Kate Rockwell initially portraying her in the Broadway production. What’s the biggest challenge of not only bringing such an iconic character to the stage night after night, but also making her your own?

JONALYN SAXER: I think it was a little difficult to transition from being an understudy to doing the role in the tour. As an understudy, I always try to honor what the person does every night. Mostly because the other actors on stage have built their show around that version of the character. Obviously, I will never be someone else, but I try to keep the beats in the same world. When we went in to tour rehearsal, I had to make the character completely my own, because Karen is also not a stand alone character. My Karen is very dependent on who the Gretchen and Regina are. Megan and I have built Karen and Gretchen together, so making it my own was actually the easier choice. 

JHP ENTERTAINMENT: There’s so many classic lines in the film, and now, the musical. Is there a line, a scene or scenario, whether yours or someone else’s, that still makes you giggle?

JONALYN SAXER: Weirdly, I never really plan how to say (and I’m hesitant to say the line and give away the joke) “And that’s why I only get naked with people in person.” I think I really feel the moment with how the audience is responding, and I truly surprise myself every night. It doesn’t help that I’m staring our Cady and Damien in the eyes and I can see them also laughing at me. 

JHP ENTERTAINMENT: Speaking of iconic lines, “On Wednesdays, we wear pink”. That line leads me to my next two questions. First…Gregg Barnes costumes for the show are perfection. Who get’s the award for your personal favorite costume of the entire show?

JONALYN SAXER: Oh I love Gregg Barnes so much. Not only does he make literally everyone look amazing, he also is so about making sure YOU feel personally comfortable and happy with how you look. I love so many costumes for so many different reasons in the show. But I secretly love how Regina starts World Burn in a black outfit, but ends it in a white outfit. Such a great way to accentuate the storytelling of the moment. 

JHP ENTERTAINMENT: Secondly…what color best represents Jonalyn and why?

JONALYN SAXER: PINK. It’s so hilarious because Pink has always been my favorite color. It’s the color of my favorite princess, Aurora (aka Sleeping Beauty), and I just love everything pink. So when I booked this show I was so excited. Unfortunately, not a lot of other people feel the same way that I do about pink. So a lot of our Merch/gifts for openings and such were not pink. I was always sad that we weren’t only getting aggressively pink things. 

JHP ENTERTAINMENT: Your acting resume from your Broadway debut in Bullets Over Broadway and more Broadway roles in Cats, Honeymoon in Vegas and Holiday Inn to your recent feature film debut in Steven Spielberg’s West Side Story. What can you tell me about your thoughts on some of those career highlights?

JONALYN SAXER: You know, I get asked all the time what is my favorite show of the ones I’ve done. And I have a really hard time choosing, because every single job has been a huge learning experience. Each show has given me so much in experience as well as the people I have met. I truly am the performer I am today because of each experience. I don’t think I would have been able to handle being an understudy in Mean Girls if I hadn’t had the experience I had swinging Cats. I was in a place in Mean Girls that made me free and able to walk into the room at West Side Story and be sure of myself and go for it. I guess a highlight would be dancing for Steven Spielberg and Justin Peck? Or being fresh out of college and doing my toddlers in tiaras impression for Susan Stroman? Telling Rob McClure when he asked if we had met before, that maybe he was thinking of the time I stage doored Chaplin? It’s truly all so unbelievable to me, and I’m just so thankful. So everyday I come to work I am so grateful and take it as such a blessing. 

JHP ENTERTAINMENT: It’s crazy to think it’s been nearly 20 years since 2004’s Mean Girls movie. Heck, it’s been four years since the musical debuted. Even so, the themes have been and will be relatable forever. Aside for tons of laughs, is there an underlying message or ideal you hope the show’s new generation of young fans take with them after seeing the show?

JONALYN SAXER: Of course! I think one of the main messages of the show is that, we should all just be the wonderful, unique people we are. What makes the show so relatable over many years, unfortunately, is that we all go through that time early in our lives, and even (honestly) all throughout life, where we just want to belong with those around us. We’re all fighting to belong and to be liked, when the true key is to just be our own, true selves. It’s a message that I’m grateful to hear every night. In the past 4 years I’ve gone through major life changes and growth, and I got to come to work and have someone remind me, that I’m awesome the way I am. It’s great for every generation to connect that we’re really all struggling with the same thing at its core. 

RAPID FIRE 10 Q WITH MEAN GIRLS‘ KEVIN G, KABIR BERY

JHP ENTERTAINMENT: Before we get going, I should probably just admit that while doing a little research to chat with you, I checked in with your high school theatre teacher, my friend Daron Bruce for a little insider info. Having gone to Hume-Fogg, how much does it mean to you to be playing Kevin G in Mean Girls…in your own hometown while on tour?

KABIR BERY: I love Mr. Bruce! He does wonders for high school students interested in the performing arts, and I am lucky to call him a mentor and friend. To answer your question, getting the opportunity to perform at TPAC is something I have been dreaming of since I was a kid. I feel honored to be able to say I grew up in Nashville, and I cannot wait to give the community a great show!  

JHP ENTERTAINMENT: During your high school career, you appeared in productions of West Side Story, Hairspray and Cabaret and were featured in Spelling Bee, The King and I and Sweeney Todd, and according to Daron, you did a particularly memorable turn as Usnavi in In The Heights. I’m sure your memories of appearing in all those shows are many, but do you have a personal highlight you feel like you’ll never forget?

KABIR BERY: Every show I was fortunate enough to be a part of at Hume-Fogg was incredibly memorable. That said, playing Usnavi in In The Heights was the highlight of my high school career given the fact that it was my last show there and I got to do it along side my best friends. Not to mention the fact that it was the last time I got to step out onto the HFA stage. I will never forget that final curtain call. 

JHP ENTERTAINMENT: You joined the Mean Girls family when the tour began in September 2019. As with all live theatre, the tour took an unexpected hiatus in March 2020, but resumed November 2021. What was it like stepping back onstage when the tour returned?

KABIR BERY: It felt like I never left. There is just something so magical about the Mean Girls cast and crew, and it truly feels like a family. In my experience, whenever you reunite with family, you kind of just pick up where you left off. 

JHP ENTERTAINMENT: Your Mean Girls character, Kevin G—for those who might need a refresher—is a confident ladies man who’s also Captain of North Shore High’s Mathletes. Two attributes that don’t alway seem to go together when thinking of a teenage boy. How much fun is it to be playing him?

KABIR BERY: Kevin G is easily one of the most fun roles in all of musical theater. I could not have asked for a better role to make my debut. I get to be a goof with a heart of gold that raps and dances every night. Sometimes twice a day! What more could you ask for?

JHP ENTERTAINMENT: Fans of the movie no doubt remember Kevin G’s rap. For the musical adaptation, Kevin’s featured prominently in not one, but two raps, Whose House is This? and Do This Thing, both high energy numbers. Do you have any pre-show rituals to help you keep your energy up?

KABIR BERY: My pre-show ritual starts when I wake up. During the run of a show like Mean Girls, you have to tailor your day to the show. Eating the right things, exercising, and drinking tons of water are all things that aid in a better and smoother show for me. A little caffeine here and there also doesn’t hurt.

JHP ENTERTAINMENT: Both of your featured numbers also include many members of the ensemble. You mentioned earlier that returning felt like reuniting with family. Is it cliche to say the ensemble becomes family, especially while touring the country in a show like Mean Girls?

KABIR BERY: It couldn’t be more true. The whole cast is a family. This group of people is easily one of the most talented, supportive, and loving that I have ever had the pleasure to work with.

JHP ENTERTAINMENT: As I mentioned above, the TPAC stop brings you home. Now, I know with the continuing safety protocols, downtime while on tour looks a little different these days, but have your fellow castmates began hitting you up to play tour guide while in Music City? and…What are your top three things to see/do while in Nashville?

KABIR BERY: I have definitely gotten quite a few recommendation requests! My top 3 things to do are 1) eat at Hattie B’s, 2) check out the Frist, and 3) go explore Opryland!

JHP ENTERTAINMENT: When I spoke with Jonalyn for the first half of this Rapid Fire 20 Q, I asked her about being with the show since its early days in lab and pre-Broadway. Danielle Wade, who’s starring in the tour as Cady, also appeared in the Broadway run. How important is it to you to forge friendships with your castmates in an effort to glean life lessons from them?

KABIR BERY: Friendships within the cast happen organically. The amount of experience that is in this cast is infinite, and I have definitely learned a lot from all of my castmates. They are superstars; I am in awe of them everyday.

JHP ENTERTAINMENT: In preparing for our conversation, I read a bit about the Mean Girls Artist Impact Team and @changeisfetch.. Can you tell me a little about that initiative?

KABIR BERY: CHANGE IS FETCH is an initiative led by members of our company that are dedicated to inspiring change and providing positive ways to take action. It is a wonderful endeavor, and I encourage all readers to go check it out!

JHP ENTERTAINMENT: Is there a life lesson, obvious, or otherwise, among Mean Girls that you yourself try to remember and bring into practice?

KABIR BERY: Be yourself. It’s a cliche, but it’s so valid and important. Too often, people try to fit a certain mold in attempts to be liked by their peers. I think it’s important to allow yourself to be you. The right people for you will gravitate towards that. 

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Mean Girls comes to TPAC’s Jackson Hall February 8 and continues through February 13. Curtain for Tuesday the 8th -Thursday the 10th is at 7:30p.m. Friday the 11th’s performances begins at 8p.m. Saturday the 12th and Sunday the 13th are two show days with a Saturday matinee at 2p.m., a Saturday evening performance at 8p.m. and a Sunday matinee at 1 and early evening performance at 6:30p.m. CLICK HERE for tickets or more information.

As TPAC continues their commitment to their patron’s safety, certain protocols are in place. 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 Mean Girls? Be sure and check out Mean Girls‘ official site for future dates as the national tour continues. You can also follow Mean Girls on Facebook, Twitter, YouTube and Instagram.

For the latest on TPAC and their upcoming Broadway Season and Special Presentations, including 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.

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

 

Having first transformed TPAC’s Jackson Hall into the magical, musical land of Pride Rock, the home and playground of future Lion King, Simba back in 2006, and again in 2013, Disney’s The Lion King once again returns to Nashville, TPAC for an extended engagement with shows January 6-23.

Based on the blockbuster 1994 Walt Disney Animation Studios’ animated film that featured music by Elton John, lyrics by Tim Rice, and book by Roger Allers and Irene Mecchi, with additional music and lyrics by Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor, and Hans Zimmer, since its Broadway debut back in 1997, directed by Taymore, Disney’s The Lion King has become the world’s highest grossing musical playing to more than 100 million audience members who’ve witnessed the spectacle by way of 25 productions around the globe. During the last near-quarter century, The Lion King has garnered 70 major theatre awards world-wide. Among those awards, the original Broadway production received 11 Tony nods, taking home six, including Best Musical, Best Direction of a Musical and Best Costume Design (both awarded to Julie Taymor), Best Choreography given to Garth Fagan for his majestic moves as well as Best Scenic Design and Best Lighting Design awarded to Richard Hudson and Donald Holder  respectively.

The current tour, known as the Rafiki Tour first began in October of 2017, following on the heels, or perhaps I should say…paws of two previous US tours, Gazelle Tour (April 2002-July 2017) and Cheetah Tour (April 2003-March 2008). Like all live theatre, the Rafiki Tour of The Lion King was paused during the global pandemic, but the company resumed performances October 1, 2021 in Cleveland at the city’s Playhouse Square.

As The Lion King roars back onto the stage and returns to TPAC’s Jackson Hall, the pack will be lead by Kentucky native, Darian Sanders, who assumed the role of Simba during the company’s recent return to preforming following the aforementioned pause. Sanders previously understudied the role of Simba since joining the tour in 2019 and previously appeared in a number of regional productions at The Lexington Theatre, University of Kentucky and Kentucky Conservatory Theatre.

In addition to Sanders, the cast will include Spencer Plachy as Scar, a role he’s played since 2018, Pacific Islander Gerald Ramsey, who began his Lion King journey during the Gazelle Tour, is once again portraying Mufasa. Nick Cordileone, who has been with the show for a decade now, will once again give voice to wise-cracking Timon. Jürgen Hooper, who fans of TV’s Chicago Med, might recognize for his work as Dr. Jason Wheeler, is playing Zazu. Ben Lipitz, who has clocked in more than 6, 200 performances as Pumbaa as a longtime member of  the Lion King family, is once again appearing as Pumbaa. Kayla Cyphers, who previously performed the title role in yet another Elton John/Tim Rice musical, Aida at the John W. Engeman Theatre in Northport, NY in 2019, is now starring as Nala. Gugwana Dlamini plays Rafiki, having played the role in a multitude of worldwide productions of The Lion King since 2002, mostly recently on the West End in London. Keith Bennett, Martina Sykes and Robbie Swift play the show’s secondary antagonists, Banzai, Shenzi and Ed, the trio of trouble-making spotted hyenas.

Rounding out the cast in principle roles are Newark, New Jersey native, Charlie Kahler shares the role of Young Simba with Memphis’ Jaylen Lyndon Hunter, while Chicago-born Kalandra Rhodes and California native Nia Mulder share duties as Young Nala. For more about the cast, CLICK HERE.

Disney’s The Lion King will play TPAC’s Jackson Hall January 6-23, with matinee and evening performances at various times during the three-week Nashville engagement. CLICK HERE for dates/times and to purchase tickets.

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 Lion King? Be sure and check out The Lion King official site for future dates as the national tour continues. You can also follow The Lion King on Facebook, Twitter, YouTube and Instagram.

For the latest on TPAC and their upcoming Broadway Season and Special Presentations, including 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.

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

 

 

 

 

 

“Every time a bell rings, an angel gets his wings.” Perhaps one of the most well-known, and certainly one of the most beloved lines ever written for a film. Of course that film is Frank Capra’s 1946 touching drama, It’s a Wonderful Life, based on Phillip Van Doren Stern’s 1943 short story, The Greatest Gift. For their holiday offering, and their return to full production with a full in-person audience after nearly two years of what we can all agree upon wasn’t exactly a wonderful life, Studio Tenn is back at Jameson Hall in The Factory at Franklin with playwright Joe Landry’s stage adaptation It’s a Wonderful Life: A Live Radio Play which opened December 9 and will present a final performances the remainder of this week, including a closing matinee of Christmas Eve, December 24.

When I attended the show last week, as I walked into Jameson Hall, I fully expected a wave of emotion to sweep over me, having missed my favorite theatre company more than I can fully express here. I asked the usher about a playbill and she pointed towards a stack of what looked like a local daily newspaper. Yes, even the program sets the mood, as it’s printed courtesy the Williamson Herald, Franklin’s local paper. What’s more, the playbill has the appearance of a special edition.  Upon entering the theatre space itself, that nostalgic ambiance kicked into high gear thanks to scenic designer Andrew Cohen, tech director Mitch White and the team of electricians, carpenters and crew, Jameson Hall has been transformed into a perfectly idyllic version of WAKM AM 950, Franklin’s oldest continuing radio station. Nerd that I am, I feel compelled to mention that the play takes place Christmas Eve, 1946, and while WAKM is indeed Franklin’s oldest radio station, it wasn’t founded until the early 50s, but I digress. Aiding in the transformation to mid-century fictional Bedford Falls, the show is peppered with a few radio commercial spots, highlighting the actual sponsors of Studio Tenn’s production. And yes, the commercials do indeed include a couple of swell jingles.

If you’ve seen the film, and honestly, I’d be very concerned with your entire being if you haven’t, you know It’s a Wonderful Life is the story of George Bailey, a young man who’s always been there for his family, often sacrificing his own hopes and dreams for the sake of others, who, when life gets to be too much, contemplates taking a fatal plunge off a bridge, but whose near-fatal act is thwarted by a guardian angel who shows him that while life is indeed filled with heart-wrenching challenges, in the end, it is indeed the wonderful aspect of it that make it worth living.

That’s right, one of the holiday’s most beloved stories deals with some heady subject matter. Oh wait, there’s more. Along his life’s journey George saves his brother from drowning, presents his pharmacist employer from accidentally poisoning a customer, faces bankruptcy, turns to the bottle and risks his marriage. But here’s the thing, Capra and company, and with this iteration, Landry, craft all these serious happenings with such heart, compassion and a healthy sprinkling of humor that you can’t help but love this story.

As the action began, the small cast of five actors: Caleb Shore, Gerold Oliver, Matthew Carlton, Galen Crawley and Marian Parris, and on-stage piano accompanist Mitchell Beard appear onstage as their characters arrive at work to the radio station on Christmas Eve to perform a live radio play for their listeners. The audience, then becomes the equivalent of a studio audience for the radio play. The inclusion of applause signs that occasionally light up just adds to the nostalgia and the illusion.

Among the first to arrive is Jake Laurentis, played by Shore. As he settles in for his performance as George Bailey, he’s seen walking around the radio station’s recording booth casually checking out the various items used as sound effects for the broadcast. First he picks up a pair of shoes and taps the soles together a few times. Yes, that’s exactly how radio dramas would give the illusion of a character walking in and out of a room. Then he reaches for a tiny bell on the end of the foley table and gently rings it. Maybe it was the emotion and anticipation of seeing my first straight play after nearly two years. Maybe I’m just a sucker at heart. Or maybe I’m like Pavlov’s dog, but from the first tinkling of that bell, which of course immediately reminded me of the aforementioned beloved line of dialogue, to that final curtain bows, I was a weeping, crying mess, or as my dear uncle would say, my eyes were ‘sweating’ the entire time. Thank goodness for Studio Tenn’s covid safety compliance and required face mask policy. At least my tears fell into the mask and only my date for the day saw me crying.

Of course it wasn’t just the Pavlovian bell that rang true, but also the performances of the entire cast. In most theatrical performances, it would seen challenging enough to play a single character, but in a show like this, the actors are charged, not only with their primary character, but being a radio play within a play, they’re also entrusted with playing the townsfolk of the fictional Bedford Falls once that “On Air” sign illuminates. Given the immense popularity and consciousness-saturating of the source material for the last 70-something years, it would seem quite the undertaking to mount such a popular and well-known story, whose characters seem engrained in our brains thanks to the revered film.

Shore, as George Bailey, the character iconically portrayed by Jimmy Stewart in the film is simply splendid. Being only slightly familiar with Shore through mutual friends in the film and television world, I knew he’d be great, if for no other reason than the fact that his natural speaking voice is perfectly similar to the beloved low-tones and occasional hesitations of Stewart himself. Under the watchful, skilled eye of Patrick Cassidy, Artistic Director at Studio Tenn and the show’s director, Shore’s George Bailey is blissfully perfect. He teases the audience with the Stewartisms, but never to the point of mimic or impersonation, expertly conveying both the beloved actor’s treasured original, while simultaneously making the role his own. Early in the radio play, when Shore is portraying a very young George, the timidity in his voice builds the anticipation of the George Bailey to come.

Alongside Shore as the only other performer to not subsequently portray a multitude of characters in the show within the show is Mariah Parris as Sally Applewhite, who in turn voices Mary Bailey, George’s Wonderful Life wife. Parris may be familiar to local theateratti having appeared in Nashville Repertory Theatre’s Urinetown, as well as Nashville Shakespeare Festival’s Macbeth as the Lady, herself. Parris’ Mary Hatch is the quintessential mid-century woman. Content with home and family, but with a palpable passion for life and all it has to offer. Speaking of passion, the scene when George is shyly courting Mary at her home and she receives a phone call from another suitor, Sam Wainwright, who just happens to be one of George’s pals, is so unexpected bubbling with chemistry. In the film, the two hold the telephone receiver between them. Under Cassidy’s detail-rich direction, and with this being a radio play the two stand breath-to-breath at the microphone as they listen to Sam blather on. I swear, even I got lost in the palpably executed spark between the two and couldn’t tell you a thing about the phone call itself. Chemistry, direction and execution…it’s all there in that one scene and thankfully, throughout the show.

As for the rest of the players–who tackle among them, somewhere around half a dozen characters each–they are Matthew Carlton, Galen Crawley and Gerold Oliver. Carlton, who is, in my humble estimation, the Grand Duke of Theatre ‘round here, plays radio personality Freddy Filmore. Alright, if you know me at all, you know I’m a huge Lucille Ball fan and collector, and if you’re a fellow Baller (yes, I just coined that because it’s hilarious), you, too will recognize the name Freddy Filmore, for that’s the character’s name in a particularly funny episode of I Love Lucy in which Lucy appears on a radio game show Females are Fabulous! Now, I’ve seen previous productions of It’s A Wonderful Life:  A Live Radio Play, but I’ve somehow never noticed this character’s name before. Heck, it’s even in the play when he’s introduced that he’s the host of Females are Fabulous. How have I missed this? But back to the play…as Filmore, Carlton gives voice to the Angel Joseph, who assigns AS2 Clarence to George’s predicament. Among the other characters Carlton brings to life in the radio drama, he’s also the villainous Mr. Potter, George’s kind but bumbling Uncle Billy. To that end, I’ve never been more entertained by Carlton than when he’s in a scene with himself as Potter and Bill. Not only does he do this by the expected turning from side to side as his dual characters confront each other, but his physicality, mannerisms and even his facial expressions drastically change, helping the audience keep up. I mean, you can never have too much Matthew Carlton on stage, so seeing him bring a multitude of characters to life is indeed a joyous occasion.

Galen Crawley plays radio ingenue, Lana Sherwood. Crawley, like Parris, might also be familiar to local theatre patrons for her work with Nashville Rep, having also appeared in their production of Urinetown, as well as The Last Five Years, but it’s this Studio Tenn debut that I’ll now forever remember her by. Compete with platinum blonde wig, a smart ensemble—courtesy the show’s costumer, Lauren Terry, whose nostalgic expertise wholly embodies the era for all the cast—and some gum-poppin’ to rival Jean Harlow, Crawley’s Lana easily voices Violet Bick. You remember that character. She’s the childhood friend of Mary and George, who, after admitting she likes George, Mary says, “You like every boy”, to which young Violet replies, “What’s wrong with that?” While her Violet is feisty and flirty, Crawley’s range as an actress comes through in a few of her other voiced characters, including George’s mother, Mrs. Bailey, but most notably as Zuzu Bailey, George and Mary’s youngest child. The audience knows we are looking at a grown woman, but Crawley’s childlike intonations and deliciously juvenile mannerisms are a bright spot throughout. Hopefully my face mask muffled not only my tears during the petal scene and the much-mentioned bell-ringing, but also my audible guffaw during the scene when the narrator mentions George and Mary’s children and Crawley not only voices the cries of the babies at birth, but physically bounds from one spot on stage to another to indicate the difference between Janie, the Bailey’s older daughter, and young Zuzu.

Rounding out the cast, and stealing virtually every moment he’s on stage is Gerold Oliver as Harry ‘Stacks’ Heywood. I first took note of Oliver back in 2017 when he lit up the stage as Seaweed in a local production of Hairspray. I next saw him in Chaffin’s Barn Dinner Theatre’s Annie. In more recent times, he appeared earlier this year in Nashville Shakespeare’s outdoor performance of August Wilson‘s Jitney. Here he plays Clarence, George’s heaven-sent guide through the various stages of his wonderful life, but Oliver also voices various townspeople, one of the Bailey’s sons, a brawl-lovin’ husband and Mr. Martini, the proprietor of a local bar. A favorite aspect of Oliver’s performance comes when he switches from one character to his primary role as Clarence. With the twinkling run of the scales of the xylophone atop the nearby foley table, regardless of where Oliver is on stage and what character he just voiced, he gets a focused look quickly moves to stand facing the audience and jumps right back into his Clarence persona. I’m certain my description doesn’t fully serve justice to just how exquisite those moments are.

It’s a Wonderful Life: A Live Radio Play is full of exquisite moments. From the gorgeous set, wigs and costumes, to the technical aspects of the show including musical accompaniment, lighting, sound design to the stage direction and excellent performances all ‘round, Studio Tenn’s return to full live production is proof positive indeed that it is indeed a wonderful life, and I for one am overcome with excitement to see what’s next as they’re set to soon announce the coming season.

It’s a Wonderful Life: A Live Radio Play concludes its holiday run with a final week of performances Tuesday, December 21 through Friday, December 24. Tuesday, Wednesday and Thursday evening performances are at 7p.m. with a 2p.m. Thursday matinee and the show’s final Friday performance a 2p.m. Christmas Eve matinee. CLICK HERE for tickets.

Following It’s a Wonderful Life the theatre company will ring in the new year at The Franklin Theatre with New Year’s with Studio Tenn hosted by Patrick Cassidy with special musical guests, John Mark McGaha and Jackie Burns. CLICK HERE for tickets and more information.

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

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

 

 

I first became aware of singer/songwriter and keyboardist, Patrick Thomas during the debut season of NBC’s music competition show, The Voice, when he, as a member of Team Blake, became an audience favorite, making in through to the live shows. Fast forward a couple of years and I had the pleasure of seeing him live onstage in a handful of local theatre productions including Studio Tenn’s  The Battle of Franklin: The Tale of a House Divided, for which he served as musical director as well as composing the score. He’s also appeared in their holiday concerts and starred as The Beast in the company’s production of Disney’s Beauty and the Beast (for which he kindly chatted with me for a December 2018 Rapid Fire 20Q. So, of course when I heard he was bringing his solo holiday show Christmas with Patrick Thomas to The Franklin Theatre for a one-night-only event on Monday, December 6 at 7p.m., I added catching up with Patrick to my Christmas wish list. Because he’s definitely on Santa’s Nice List, he kindly obliged. In the spirit of the Christmas season, I decided it would be fun to let my interview feature live up to its name, at least in part, as I posed 10 Holiday-centric Rapid Fire questions to kick things off, followed by 10 more detail queries.

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RAPID FIRE 20 Q WITH PATRICK THOMAS

JHP: Christmas snow, or Santa by the surf?

PATRICK THOMAS: I love the beach but give me snow for Christmas.

JHP: Hot Chocolate or Egg Nog?

PATRICK THOMAS: Eggnog (but add a little bourbon please)

JHP: How The Grinch Stole Christmas or A Charlie Brown Christmas?

PATRICK THOMAS: The Grinch, and it must be the Jim Carey version.  My wife and I can quote the entire movie…one of the ways we knew it was true love.

JHP: White Christmas lights or Multicolor?

PATRICK THOMAS: White Christmas lights. Keep it classy please.

JHP: Gift Cards or Presents?

PATRICK THOMAS: Definitely presents.  The thoughtfulness behind a gift, good or bad, is truly what makes it.

JHP: It’s a Wonderful Life or Miracle of 34th Street?

PATRICK THOMAS: Miracle on 34th Street for me.  Although I did see a Studio Tenn production of It’s a Wonderful Life that moved me to tears.

JHP: Peppermint Bark or Reindeer Chex Chow?

PATRICK THOMAS:Peppermint Bark

JHP: Santa Baby by Eartha Kitt or Madonna?

PATRICK THOMAS: Eatha Kitt! 

JHP: Early Shopping or Last-Minute?

PATRICK THOMAS: Early. I’m way too neurotic for the stress of last-minute shopping

JHP: Best Scrooge?

PATRICK THOMAS: Michael Caine. I’m a big fan of A Muppet Christmas Carol.

JHP: You’ve been doing a Christmas show for a few years now. How did it originally come about?

PATRICK THOMAS: My good friend Benji Kern and Studio Tenn asked me to be the holiday entertainment in 2019.  I’ve never been more thrilled.  I spent months arranging the show and recording a Christmas record with my buddy and producer-extraordinaire, Sean Neff, and will never forget that first year of shows.  Even though this year the show is self-produced at the Franklin Theatre, it’s a Christmas tradition I certainly plan on keeping.  I’d love to expand the number of shows and take it on the road in the near future.

JHP: With the pause in live performances last year, how excited are you to be back on stage with your Christmas concert this year?

PATRICK THOMAS: How long do you have?  No industry was truly untouched by COVID-19 but the live performance was hit particularly hard.  I did get the chance to perform a stripped down version of the show last year, (in Texas), which did wonders for my soul. Still, to have it back in the Nashville/Franklin area means the world to me.

JHP: Do you have any favorite holiday memories you’d care to share?

PATRICK THOMAS: I grew up in a very musical family.  I will always treasure the hours spent around the piano harmonizing in 4 parts, (my mom, dad, sister, and me), and sometimes more when relatives would stop by.  I’ll also never forget when my sister and I left water out for Santa’s Reindeer and walked outside to find the water was light red from Rudolph’s nose :). 

JHP: For those who’ve seen your show in previous iterations, what tried-and-true elements can we expect to return?

PATRICK THOMAS: The show is still very much piano-driven. You can expect all of the holiday favorites and more, and a heck of a band.

JHP: On the flip-side, any changes or additions you can reveal?

PATRICK THOMAS: I think I’ll keep it close to the vest, but I’ve definitely changed the set list a bit this year and added some songs that I am really thrilled to perform.

JHP: You’ve previously included special guests. Will anyone be joining you for a duet or two this go round?

PATRICK THOMAS: Oh yes…and you’re in for a treat.  The incredibly talented, local singer-songwriter, Briana Tyson will be joining me. She’ll do some of the duets that Rachel Potter and I have performed in the past but will also sing a solo or two that will blow you away. She needs her own Christmas show!

JHP: Speaking of our mutual friend, Rachel Potter, any talk of the two of you touring together again anytime soon?

PATRICK THOMAS: We never go too long without performing together.   In fact, on Saturday, December 11, just 4 days after the show at The Franklin Theatre, we will be flying to South Carolina to perform Home for the Holidays with the Aiken Symphony Orchestra. 

JHP: Being a songwriter as well as a singer and musician, can we expect to hear any original holiday tunes during your Christmas show?

PATRICK THOMAS: Actually yes! I didn’t include any originals in previous iterations because it’s hard to beat the classics, but this year I decided to go out on a limb. I really hope the audience will enjoy it.

JHP: Whether it’s included in your show or not, do you have a personal favorite holiday tune?

PATRICK THOMAS: O Holy Night. It’s not only my favorite Christmas song, but my favorite song period.  My first live performance was actually singing O Holy Night as a duet with my mom when I was four years old. 

JHP: Beyond Christmas with Patrick Thomas, what’s coming up for you career-wise after the holidays?

PATRICK THOMAS: I have been busier than I would like to admit preparing to join the US and Canada Tour of The Simon and Garfunkel Story, where I play Paul Simon.  It’s 27 songs and a TON of difficult finger-picking on the guitar.  I’ll be on the road with them on and off throughout 2022.  Additionally, I’m planning on releasing a Sinatra meets country record in the new year, although that has been put on the back-burner at the moment. I think I’m still picking up speed after taking an extended, pandemic-induced break, but I have a feeling that 2022 will be a year of lots of new music and hopefully many more new fans.

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As of this posting, all Cabaret Seating and Premium Classic Seats have sold out for Monday, December 6’s Christmas with Patrick Thomas at The Franklin Theatre but select Classic and Balcony seating remains priced at $40 and $45, so if you’re looking for a Cool start to your Yule celebrations, CLICK HERE.

For more about Patrick Thomas, check out his site and find him on Facebook, Instagram, Twitter, YouTube and Spotify. To listen to his current single, On My Way to You, CLICK HERE.

As always, if you wanna follow JHPEntertainment 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 #GoSeeTheShow!

As I mentioned when I chatted with the cast of We Need a Lot of Christmas for my latest Rapid Fire 20Q, the show’s title is 100% accurate. We DO indeed need a Lot of Christmas, especially after the past months we’ve all endured. What’s more, after attending an opening weekend performance of Fiddle Dee Farms’ current dinner show (on stage through December 31 at the farm’s beautifully decorated Barn, located at 7526 Swift Road, Greenbrier, TN 37073) I can certainly attest that the eight-member ensemble and resident magician do indeed deliver the goods. 

With a delicious meal kicking off the night and more than three dozen musical numbers, dancing, singing, sketches—both comedic and heart-tugging—and magic tricks peppered throughout, Fiddle Dee Farms’ We Need a Lot of Christmas is a holiday gift so big even that Jolly Ole Elf couldn’t fit it in his sack.

Upon arriving at Fiddle Dee Farms (located just about 25 minutes from Downtown Nashville), I first noticed the Christmas lights decorating the entrance. Closer inspection revealed a couple of festively trimmed trees and a bench perfect for that impromptu Christmas card photo op while you waiting in the late-fall air to be escorted inside The Barn at Fiddle Dee Farms to your table. 

Anyone who knows me, knows that 1954’s White Christmas starring Bing Crosby, Rosemary Clooney, Danny Kaye  and Vera-Ellen is my absolute favorite holiday film. It’s more recent stage adaptation, my favorite holiday stage musical, so you can image my giddiness when I entered The Barn at Fiddle Dee Farms to see it completely covered in garland, lights, evergreens, trees flocked with snow and glitter and gorgeously a breathtaking resplendence of Christmas, just like the final scene in the film.

Once seated, we were directed to the buffet where the staff of The Bakery Box, caterers of the dinner portion of the evening, buzz around like elves in Santa’s Toy Shop making sure the guests get their choice of Apple Chutney-glazed Smoked Pork Tenderloin or Spinach Stuffed Chicken with sides of Au Gratin Potatoes, Green Beans with Almonds, a Salad and Dinner Roll. I opted for the Chicken and after the meal, it wasn’t the only thing that was stuffed. Huge portions, and so tasty, too. After dinner, guests are invited to visit the dessert bar which contains a selection sweets. I chose the Chocolate Chess Pie and never regretted it for a moment.

Following the dinner hour, it’s time to settle in for the show, and what a show it wis. Produced by husband and wife team, Barry and Dari Anne Amato, who are also among the cast of talented singer, dancers and performers, the show also features a bevy of talented folks including: Curtis Reed, Charlynn Grace Carter-Lotto, Billy Ditty, Jenny Norris, Jordan Long, Amanda Disney and Magician Bruce Amato. We Need a Lot of Christmas rivals anything you see at Radio City Music Hall, on a National Tour, or, to put it in terms to which we locals can definitely relate, Dollywood, Pigeon Forge…or for those who remember it, Opryland USA. That last reference should be no real surprise for those who know the Amatos, as the two actually met while appearing at Opryland and they’ve also mounted many shows in Pigeon Forge.

As mentioned earlier, the show features more than three dozen musical numbers, a list of which might be as lengthy as Santa’s Naughty and Nice tallies. That said, part of the fun of seeing this all-new production during its inaugural season is not knowing exactly what all songs to expect. To that end, I won’t give you my usual track-by-track rundown of the show. Instead, here’s a few of my personal favorite moments.

Of course the opening sequence is spectacular. Outfitted in festive attire ,the entire cast takes to the stage for a medley including a slightly altered version of We Need a Little Christmas. For this show, and this world we’re living in, the lyrical switch reiterates the fact that We Need a Lot of Christmas. The all-in medley continues with Man With the Bag, Most Wonderful Time of the Year and concludes with a titular reprise. Of course the tune, in its original form is from my other favorite holiday movie, Lucille Ball’s Mame. Don’t come for me with “It’s not really a Christmas movie” or “Auntie Mame, starring Rosalind Russell is the far superior version of that story”. Them’s fighting words, but I digress. 

While I’ve mentioned the set decoration, the food and the talent, I must also mention the wardrobe. We Need a Lot of Christmas is chocked full of costume changes. More than half a dozen different looks for each cast member. Each of them perfectly mirroring the moment, from the craziness clothing choices of a Zoom call to Christmas toys come to life. But the most spectacular of the costuming are showcased when the entire cast is on stage in coordinating looks. Everything from Christmas bling to Buffalo Plaid, from Winter White to Tuxes & Tails, Evening Gowns and more.

A couple more mood-setting tunes and the show’s first magic trick of the evening. Of Bruce Amato’s magic tricks, they’re just complicated enough to have the audience guessing how he does it. Amato proves himself a seasoned showman. His presentation, engaging smile and movement, thoroughly engaging.

Next up, a bit of relatable levity by way of the night’s first sketch, centering ‘round the now all-too-familiar, and aforementioned Zoom call. Barry Amato is seen checking in on everyone at his laptop while the rest of the cast appears onstage holding black frames, replicating the look of being on a computer screen. Anyone who’s participating in a video conference during these last several months will surely chuckle at the sight of some attendees wearing pajama bottoms, while others struggle with the mute button, noisy kids in the background, and even sleep deprivation due to taking on an addition gig. Of course there’s also that one guy who’s fully dressed—tie and everything—and still another who has opted to not share their camera view. 

That unseen participant in the Zoom skit just happened to be cast member Amanda Disney, making her professional debut after a lifetime of being onstage in school show, regional productions and community theatre, and what a debut it is, for she’s the night’s first soloist as she performs Underneath the Tree. Aptly named, Disney look like…well…a Disney Princess to come life. Snow White to be specific, with her raven locks, bright eyes and ruby red lips, and a voice to match.

Disney’s solo leads into the show’s next segment, for you see, each grouping of songs is carefully thought out and presenting with cohesive themes. This next section is all about snow. It also features most of the remaining cast members in stand-out solo vocals, as do most segments throughout the night. This seems like a good time to delve further into this. All too often I’ve seen ensemble shows that don’t hold up the true ideal of an ensemble cast, but rather feature one or two performers heavily and relegate the remainder to backing vocals. This is not the case with We Need a Lot of Christmas. Perhaps because of their Opryland roots and the inherent ensemble nature of those shows, the Amatos do a remarkable job of highlighting each and every member of the cast’s strength as a performer while seemingly effortlessly also bringing them all together for some truly beautiful moments. 

Case in point, the Snow Section includes an all-in version of Snow, a tune from my festive film favorite, White Christmas.I don’t know what it is about this simple little tune that includes some great harmonies, but it makes my cold, dark heart simply melt, just as it did when I heard this cast perform it.

On the topic of solos, Billy Ditty’s Winter Wonderland was another bright spot in the snow segment. As fabulous a dancer as he is a singer, Ditty can croon a tune while tripping the light fantastic in a manner reminiscent of Gene Kelly and the like. 

If Ditty stirs visions of Gene Kelly, Jordan Long might easily be compared to more contemporary crooners like Harry Connick, Jr. or Michael Buble as he warms up the chill in the air with Let It Snow. 

Keeping the snowy theme going, Jenny Norris gets in on the action with Do You Wanna Build a Snowman. Full Confession: Yes, I know it’s from Frozen, but I’ve still never seen it, not the sequel, or even the Olaf shorts and specials. But let me say this…after hearing Norris’ inviting take, I just might have to see the film this holiday season. 

Also featured as a solo vocalist in this segment is Curtis Reed, another skilled singer and dancer. He’s also quite the comedian, as witnessed in strangely fitting 90s rap, Ice Ice Baby…complete with a frosty wig, shimmering wardrobe and minor adjustments to the lyrics befitting the holiday season.

Charlynn Grace Carter-Lotto gets in on the fun with the show’s next sketch, as she presents a befuddled Mom trying her hand at Christmas crafting. This leads into the Toy Section of the show. Magician Bruce Amato, with the help of Jenny Norris invites the audience into a world of Pure Imagination dressed as a cross between Rainbow Bright and a marionette. This section features a few expected elements, everyone in on a rendition of Toyland, namely, but there’s also a few surprises and in the interest of keeping them that way, all I can say is Charlynn Grace Carter-Lotto gives us Toy Story Cowgirl Jesse realness, Jordan Long is super, Curtis Reed is plum fantastic, nobody’s gonna wanna keep the Amatos on the shelf and fans of the mid-century animated holiday classics by Rankin-Bass are sure to get a smile from the Isle.

Yet another magical moment courtesy Bruce Amato transitions the audience to the Hollywood Movie Musical Section of the show, and Yes, checking something off my personal Christmas wish list, they all sing White Christmas and The Best Things Happen While Your Dancing from White Christmas during this section. I can’t help it! Lotto and Long take the lead vocally during this song, while the remaining cast of Disney, Reed, Norris, Ditty, and the Amatos gracefully glide across the floor proving the best things do indeed happen while you dance.

Dari Anne Amato’s Have Yourself a Merry Little Christmas is yet another highlight during this section as she pays perfect musical homage to Judy Garland’s who’s 1944 version introduced the world to the now-classic holiday tune in the film Meet Me in St. Louis. What’s more, Amato looks like a dream singing it. 

Channeling yet another modern crooner, Jordan Long makes the audience feel all warm and fuzzy inside with his version of Josh Groban’s Believe from the film Polar Express. Bringing the Polar Express into the station, albeit only temporarily for the show’s intermission, Barry Amato, dressed in full train conductor regalia, recreates the Hot Chocolate scene from the film as legions of servers bring a sampling of Hot Chocolate to each and everyone in attendance. A little taste was all I needed to convince me to visit the concessions area for a full service of Hot Chocolate. Both beverages and others items were available in the gift shop for an additional minimal fee.

Post-intermission its time to Swing Into Christmas with Barry Amato leading things off with a swingin’ take on Gettin’ in the Mood for Christmas, a rockin holiday tune from Brian Setzer adapted from the classic Glen Miller. Christmas keeps on swingin’ with selections by Carter-Lotto, Reed and Ditty, with another magical interlude by Bruce Amato.

A humorous road trip sketch comes next with Reed once again stealing the show, and once again, I’m not gonna reveal all, but Reed as the youngest of three boys—Ditty and Long playing his older siblings—make a holiday drive challenging for Dad, Amato.

From humor to heart, Reed is once again at the helm with the help of the guys in the cast as he takes the lead on a heart-felt salute to our military by way of a moving rendition of the holiday classic, I’ll Be Home For Christmas.

Continuing the mood of gratitude, the night ends with a selection of traditional Christmas Carols based in faith and honoring the true reason for the season. As is the case throughout, this segment features each and every cast member in all their musical glory. The perfect end to a perfect holiday night of music, dancing, merriment that will surely leave audiences with a warmed heart and an appreciation for family, friends, and a renewed sense of appreciation for what we have, what we’ve lost and what we hope for the future.

Speaking of hopes for the future, I sincerely hope Fiddle Dee Farms continues to present the occasional dinner and a show throughout the year. If I may be so bold, might I suggest presenting the much-mentioned White Christmas musical stage version next holiday season. I’d be happy with any combination of the incredibly talented folks featured in We Need a Lot of Christmas taking it on for Christmas 2022.

In the meantime, We Need a Lot of Christmas continues it’s run with performances Dinner Shows December 4,10, 11, 14, 15, 17, 18, 19, 21, 22, 23 and a special New Year’s Eve performance December 31. As well as additional Matinee performances December 4, 10, 11, 14, 17, 18 and 23.

Doors open for Matinees performances at 11:30am with a Gourmet Box Lunch served from 11:55am until 12:55pm and the Show beginning at 1pm. Matinee performances are $49.95, and include a gourmet box lunch.

Doors open for evening performances at 5:30pm with Buffet served from 5:45pm until 7:15pm and the Show beginning at 7:30pm. Evening performances begin at 7:30p.m. and prices range from $69.95 to $74.95 (for VIP seating) and include the above mentioned gourmet buffet with choice of entree. 

Tickets are also available for a special New Year’s Eve performance beginning at 8p.m. for $110.00. The New Year’s Eve celebration includes the above-mentioned holiday buffet plus a meet and greet with the cast and producers, fun and games, party favors, noisemakers, post-show dancing with music provided by a DJ, dance lessons courtesy the cast, more magic from Bruce Amato, post-show hors d’oeuvres and holiday desserts and of course, champagne at midnight. CLICK HERE for tickets. For more, check out We Need a Lot of Christmas on Facebook and Instagram.

As always, if you wanna follow JHPEntertainment 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 #GoSeeTheShow!

https://www.fiddledeefarms.com/

Rapid Fire 20 Q with cast and creators of ‘We Need a Lot of Christmas’; opening November 26 at Fiddle Dee Farms in Greenbriar

https://fiddledeefarms.ticketspice.com/we-need-a-lot-of-christmas-2021

https://www.christmasdinnershow.com/

Once again, the holidays are upon us. After the past several months, it’s definitely time to celebrate with the gift of live theatre! As Angela Lansbury sang in the Broadway favorite, Mame, We Need a Little Christmas…NOW. To that end, husband and wife creative team Barry and Dari Anne Amato have joined forces with the owners of Fiddle Dee Farms (7526 Swift Rd, Greenbrier, TN 37073) to present We Need a LOT of Christmas, an all-new dinner theatre experience at Fiddle Dee Farms’ Barn. Dinner theatre in a barn…sounds familiar, right? Well, guess what? Joining in on the fun are some of Nashville’s best known performers, a few of which just so happen to have performed in a number of shows at Nashville’s beloved Chaffin’s Barn Dinner Theatre. Joining the Amatos and Chaffin’s alumni, there’s a couple other performers. One whose career is just beginning, another who’s making their return to Nashville after a stint in New York, and yet another who’s magic has delighted audiences across the globe. One thing’s for certain, all of them are coming together to make the season bright with select performances now through the end of the year.

As the cast readied the show and themselves for their Friday, November 26 opening night, I recently had a opportunity to chat with a few of the featured performers about the show, their holiday memories and the excitement of the holidays for my latest Rapid Fire 20Q interview feature.

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RAPID FIRE 20 Q WITH CAST OF FIDDLE DEE FARMS’ WE NEED A LOT OF CHRISTMAS; OPENING FRIDAY, NOVEMBER 26

RAPID FIRE WITH WE NEED A LOT OF CHRISTMAS’ BARRY AND DARI ANNE AMATO

JHP: From what I understand you two met while performing at Opryland USA. Since then you’ve worked together many times and even co-run a production company, We Need a Lot of Christmas being your latest venture. Gotta ask…What’s the best part of being married to your business partner and co-star?

BARRY AND DARI ANNE AMATO: Since our early days at Opryland, we have never known anything else except being together 24/7 while working.  For some, that may be a hard thing to do but we have always found the joy in not only being husband and wife but sharing our gifts together creatively.  We both bring different strengths to the table which makes for a successful partnership.  When we do step apart to do individuals things, it just doesn’t feel right to us.

JHP: For those not familiar, what can you tell me about The Barn at Fiddle Dee Farms and why it’s the perfect venue for this show’s debut?

BARRY AND DARI ANNE AMATO: For us, The Barn at Fiddle Dee Farms is perfect for a couple of reasons.  We have always been big time fans of the movie, White Christmas and have always said, “wouldn’t it be great to produce a Christmas show in a setting just like the movie?”  Little did we know that would be in our paths.  The barn is, for starters is a beautiful venue but also provides the backdrop of what the theme of White Christmas is mainly about.  On the other hand, the barn also fills a void of the beloved Chaffin’s Barn Dinner Theatre that was one a Nashville’s treasure.  This gives patrons an opportunity to create a new tradition with Fiddle Dee Farm.

JHP: Unless it purely coincidental, among the cast is Magician Bruce Amato, i’m guessing y’all are related. Having performed throughout the US and Europe. What can you tell me about Bruce and his contributions to the show?

BARRY AND DARI ANNE AMATO: It’s exciting to have our brother Bruce involved in this production.  He is one of the main reasons there is a show since co-owners Karen and Craig Pulley have always wanted to do a Christmas show with him involved.  He brings a fun element to the production that helps buffer all the different scenes.  Bruce comes to the stage with many years of experience as a professional illusionist having worked with David Copperfield and is also highly sought after in the world of magicians for lectures, performances and professional guidance.

JHP: Tell me more about how We Need a Lot of Christmas came about?

BARRY AND DARI ANNE AMATO: Ironically, Dari Anne was helping a friend with a wedding that was being held at Fiddle Dee Farms.  Karen Pulley said to Dari Anne, “you and your husband are show producers…right?”  My brother Bruce has performed for their fall festival for years and had mentioned our names to her and her husband, Craig.  At that time, we were totally unaware that her husband, Craig, use to be the director of the television show we produced for The Nashville Network, The Wildhorse Saloon dance television series.  We didn’t realize that he, along with Karen, own Fiddle Dee Farms. So all along we had a indirect affiliation that stems back years and didn’t even know it at first. Funny how certain people in your life come around full circle!

JHP: Having been married nearly 25 years, do you two have a favorite Christmas memory?

BARRY AND DARI ANNE AMATO: Christmas is such special time of the year for us.  We try to create new memories every year but I would have to say the most precious memory to us was Christmas 1993.  We were both performing in Dollywood’s production, Christmas In the Smokies.  It was a wonderful season of renewal of our faith in God and following Jesus.  It was such an overwhelming since of calling and our lives have never been the same!

RAPID FIRE WITH WE NEED A LOT OF CHRISTMAS’ BILLY DITTY

JHP: In recent years you’ve kept yourself busy primarily behind the scenes as a one of Music City’s go-to choreographers and costumers for some of Nashville’s most-cherished performance organizations. That said, what’s it like returning to the stage as a featured performer?

BILLY DITTY: I would like to say that it was just like riding a bicycle, but the reality is that I had to get my mental game back on point. It took me some time in rehearsal, to get by brain up to speed as far as focus and retention. I’ve always kept a few plates spinning at one time but post Covid I feel like I had to let a few plates go and focus on fewer things to handle to the real work onstage.The work has paid off. The amount of joy I receive each day from this show feels great!I’m tired but its a good tired.

JHP: You and I have known each other for years and if memory serves, some of your earliest performances happened onstage at Chaffin’s Barn Dinner Theatre. To that end, this show features a few Chaffin’s alum. Given that, and the fact that this show is being mounted at That Barn at Fiddle Dee Farms, does the experience give you familiar vibes?

BILLY DITTY: It does bring back great memories of those times, the Holiday shows I worked on there and how much we laughed. The laughter is very similar. We are also a  funny, high spirited, opinionated, talented group that sometimes acts like family.

JHP: On the subject of your fellow castmates, this cast’s theatre credits are brimming with choreographers. Does that mean audiences might get a chance to see some Dittyography in the mix?

BILLY DITTY: Yes, I was asked to contribute a few sections. I used my dance class students at Bellevue Performing Arts Center (where I teach) as Guinea Pigs to work out some sections before presenting choreography to the cast.  All of the cast was invited to collaborate in the creation of this piece.  We are a talented group of strong minded creatives so the urge to just step forward and solve the creative problem is strong.  We have been really respectful about offering up our individual wisdom at the right time. It feels more like support, that way!

JHP: Do you have favorite segment of the show?

BILLY DITTY: Probably the Men’s Medley. There is no choreography but the vocals are delicious and worth the sweat. The music is mesmerizing to me. I’m going to rehearse it again right after these questions…..

JHP: What is your Christmas wish this year?

BILLY DITTY: My wish is for the world to allow the Arts to come back in a bigger better, meaningful way. Theater is certainly back, in one form or another, and I’m thankful for any performing art. The natural growth of the arts in Nashville has been stunted and it may be some time before it gets fully back on track as far as money, budgets, growth, staff numbers, pay scale, production, talent, outreach programs. I’m it for the long haul and I need it to work for me, my tribe and for Nashville’s overall culture.

RAPID FIRE WITH WE NEED A LOT OF CHRISTMAS’ CHARLYNN CARTER-LATTO

JHP: After more than a year of no live theatre, how excited are you to be onstage again?

CHARLYNN CARTER-LATTO: More than you can even imagine because for me, It’s been even longer.  I haven’t really been onstage since before the birth of my son so it’s been over three years for me.I’m so thrilled that the theater world is coming back to life and that I get to be a part of it.

JHP: When I saw you were part of the cast of We Need a Lot of Christmas, I knew I had to chat with you. So, what’s been the best aspect of being part of this show for you?

CHARLYNN CARTER-LATTO: Performing with some of my best friends who also just happen to be some of the most talented people in Nashville.  It’s a total joy to be onstage with people you’ve loved for years.

JHP: If my social media stalking and math skills serve me well, your precious little boy will be nearly 3 by the time Santa comes this year. Is this shaping up to the be best Christmas ever at your house?

CHARLYNN CARTER-LATTO: That’s right! And yes!  We are having the best time.  He calls Santa Christmas and loves everything about Christmas so far which makes it so much more fun for me.  I’ve always loved the Holidays but there’s something magical about experiencing it through the eyes of a child that makes it so much better.

JHP: From what I know, this show is presented in segments grouping specific types of holiday tunes together. Without even knowing what songs are included, I’m guessing my favorite will be the Movie Music offerings. Do you have a favorite segment or song, whether you’re part of the performance or not?

CHARLYNN CARTER-LATTO: I’m with you on that one!  I’ve watched White Christmas so many times I could quote the entire movie so so tunes are a favorite for sure.  But I think the spiritual section might be my favorite of this show.  

JHP: What’s your ideal Christmas Day consist of?

CHARLYNN CARTER-LATTO: We start big on Christmas Eve in my family.  Niko is playing a sheep in the church Christmas Eve nativity program which is going to be wonderful and hilarious I’m sure.  He’s got quite the personality.  And then we always go to my mom’s house for a huge appetizer spread and gifts.  And my mom happens to be the best cook on earth!  Then Christmas morning with Niko is going to be nothing short of magical.  I can’t wait.

RAPID FIRE WITH WE NEED A LOT OF CHRISTMAS’ CURTIS REED

JHP: When I chatted with Billy, I noted this show is chock-full of choreographers, including yourself. Did you contribute to any of the show’s choreo?

CURTIS REED: There are quite a few multi-faceted performers in this show and I am definitely lucky enough to be one of them. While I didn’t contribute heavily to the choreo, we all helped each other finesse the dance numbers and lent our services where needed. I helped quite a bit with the development of the show and the writing for the comedic sketches we have sprinkled throughout. Having this show as a collaborative effort just makes it that much better!

JHP: Among your co-stars is the lovely Jenny Norris. Like yourself, she’s another Chaffin’s alumni. How much fun are the two of you having?

CURTIS REED: Anytime someone puts Jenny and I in a show together, comedy and mischief will ensue! She is most definitely my “person” and we have been in shows together every year since I first moved here back in the fall of 2014. I am so very very fortunate that we continue to share the stage together and our hijinks have not gotten us into too much trouble! LOL There are several Chaffin’s Barn Alumni in this show that we hope our Barn patrons will want to see in action again! Aside from Jenny and Myself, we have Billy Ditty who had a very long stint at the Barn along with Charlynn Grace (Carter) Lotto. In fact, my very first show at Chaffin’s (All Shook Up), Jenny, Myself and Charlynn all shared the stage together! Now we are all together again and it feels like one big happy family!

JHP: There’s also a few cast members Nashville audiences might not be as familiar with, including Jordan Long, who recently returned to Tennessee after a stint in New York and a couple of national Broadway tours, and Amanda Disney, a life long performer who marked her professional stage debut just a few months ago.If you were helping Santa with his Naughty and Nice lists, which each of them end up on and why? And remember, Santa’s watching so choose your words carefully.

CURTIS REED: Well Jonathan, everyone’s a little bit naughty LOL. I have had so much fun with everyone in this cast! Getting together with old friends and making new ones in the process. I was fortunate enough to work with Amanda on her Nashville debut which is how we ended up in this show together! The level of talent and skill in this cast is just outstanding! Now, to answer that question, If I HAD to inform Santa as to who might be naughty, that list would definitely include myself, Billy Ditty, the surprise attack naughty elf, Jenny – because as before-mentioned, she is my partner in crime, Jordan, who is very quick-witted and funny and Charlynn, the unassuming southern belle. We definitely make up the naughty list in this show……. in the BEST way possible. I will say, there is a point at every rehearsal where we must have reached the witching hour and we all start egging each other on and the belly laughs are contagious. That to me is the best part of working with such a close cast.

JHP: I understand this show is a musical review, that’s woven together with a few vignettes of dialogue. Furthermore, you help pen said dialogue. Can you tell me a little about that process?

CURTIS REED: I was so humbled that Barry and Dari Anne trusted me and wanted my input on the comedic aspect of this show as well as how the show would be structured. Working with them is always amazing and being a big part of this inaugural behemoth of a show was something I was definitely ready for after the year and a half we all had to deal with. Quite honestly, dealing with the lack of theater and covid and other hardships helped us really hone in on what we wanted to bring a lightness to and poke fun at if you will. Having to get used to new technologies like Zoom calls, learning through Youtube videos and the Internet, being apart from human contact, all that helped fuel our funnies. I think that our stand-out comedic moments are sure to get plenty of belly laughs from the audience and make their Holiday Season that much brighter.

JHP: I still remember the Christmas that Santa brought me my Evel Knieval Scramble Van and Stunt Cycle…and my Six Million Dollar Man and Bionic Woman action figures. Do you remember and specific Christmas gifts from your childhood?

CURTIS REED: Oooo that’s a good one! I do remember the one year I found a fish bowl with two goldfish in it that I was VERY excited about. I promptly named them Goldie and Lucky. There was another Christmas that I was a little too young to remember, however the photo proof and stories I have been told lend me to believe the year I got a Giant Stuffed Unicorn that Little Curtis could ride on was also a big hit. Apparently after that gift was opened all others were forgotten and all I wanted to do was hug and cuddle with the Unicorn. I mean, can you blame me though?

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We Need a Lot of Christmas opens Friday, November 26 and runs through December 31 with evening and matinee performances on select dates. Evening performances begin at 7:30p.m. and prices range from $69.95 to $74.95, both including a full dinner buffet courtesy The Bakery Box and featuring your choice of Spinach Stuffed Chicken or Smoked Pork Loin with Apple Chutney. Side options include Au Gratin Potatoes, Green Beans with Almond Slivers, Salad and Fresh Rolls and a selection of Dessert options.

 Matinee performances are $49.95, with the show beginning at 1p.m. and featuring a gourmet box lunch. Tickets are also available for a special New Year’s Eve performance beginning at 8p.m. for $110.00. The New Year’s Eve celebration includes the above-mentioned holiday buffet plus a meet and greet with the cast and producers, fun and games, party favors, noisemakers, post-show dancing with music provided by a DJ, dance lessons courtesy the cast, more magic from Bruce Amato, post-show hors d’oeuvres and holiday desserts and of course, champagne at midnight. CLICK HERE for tickets. For more, check out We Need a Lot of Christmas on Facebook and Instagram.

As always, if you wanna follow JHPEntertainment 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 #GoSeeTheShow!

Sesame Street does it again! Always a champion of diversity, acceptance and inclusion, on Thanksgiving Day, the venerable children’s show (with plenty of lessons adults can learn from, too) will present a new special, See Us Coming Together: A Sesame Street Special, which will celebrate the diversity of Asian and Pacific Islander (API) communities as it introduces Ji-Young, Sesame Street’s newest Muppet, who also happens to be the show’s first-ever Asian-American Muppet.

Airing on local PBS stations, the show will simulcast on multiple Sesame Street social platforms YouTube, Facebook, Instagram, PBS Kids and HBO Max. Among those scheduled to appear, the new special will feature celebrity guests Simu Liu (star of Marvel’s current hit film, Chang-Chi; Top Chef host/model/actress/author, Padma Lakshmi and tennis great, Naomi Osaka.

According to an AP press release, the newest resident of America’s most beloved street is Korean American and 7 years old. Ji-Young is also said to have two passions: “rocking out on her electric guitar and skateboarding.” To that end, and anticipation of the upcoming special, a music video medley Somebody Come and Play/Anyone Can Be Friends/You’re Special/Ji_Young’s Song just dropped on Sesame Street’s YouTube featuring Ji_Young and the Best Friends Band comprised of Elmo, Abby Cadabby and Tamir. CLICK HERE to watch.

The press release further reveals Ji-Young is “looking forward to showing her friends and neighbors aspects of Korean culture such as the food,” and loves to craft dishes such as tteokbokki (a.k.a. chewy rice cakes) with her grandmother.

See Us Coming Together: A Sesame Street Special is the latest in a continuing socially conscious series of specials and content from Sesame Workshop, the initiative having launched summer of 2020, with the CNN/Sesame Street town hall special, Coming Together: Standing Up to Racism. First airing June 6, that special was a thoughtful response to the murder of George Floyd and the ensuing protests, presented in a format appropriate for and related to a child’s prospective and questions. A segment in that special feature Elmo’s dad, Louie explaining the concepts of protesting and racism to the lovable red Muppet.

Another Sesame Street special, The Power of We, debuted on HBO Max, October 2020. That special featured cousins Gabrielle and Tamir, who teach Elmo and Abby how they can stand up to racism. This special spawned a series of online videos, under the umbrella, The Power of We Club.

On March 23, 2021, the initiative premiered its bilingual resource package, titled The ABC’s of Racial Literacy, on the Sesame Street in Communities website. It also introduced two Muppet characters, five-year-old Wes and his father Elijah, who appear in online videos. A music album was later released as part of the initiative, and its racial justice curriculum was planned to extend to the original Sesame Street series in Seasons 52 and 53.

As always, if you wanna follow JHPEntertainment 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 #GoSeeTheShow!

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!