JHP Entertainment

Even though I myself had only seen one or two random episodes of Spongebob Squarepants over the last twenty years, my subconscious had absorbed—if you will—some basic facts about the  jaundiced, angular, happy-go-lucky sea-dwelling sponge and his fellow Bikini Bottom inhabitants. That said, when I first heard about The Spongebob Musical on Broadway, I envisioned something akin to one of those live touring shows based on kiddie tv with actors parading around on stage in larger than life character costumes. Of course I soon learned that director Tina Landau opted to forgo the expected cartoony look of the characters as created by the late, great Stephen Hillenburg, instead representing the majority of residents of Bikini Bottom in human form with clever wardrobe, hair and makeup nods to their animated aquatic selves. What I hadn’t expected, until I arrived at TPAC’s Jackson Hall earlier this week for Opening Night in Nashville of SpongeBob’s first-ever National Tour, continuing here in Music City through Sunday, November 10, was a neon rainbow of color, light and sound that magically bridges the gap of ridiculous cartoon goofiness with some genuinely lovely musical theatre moments.

Having kicked off the tour just last month, it would seem the company is still working out being in a new venue each week as there was a slight delay to opening the theatre to patrons for the show’s Nashville premiere. That said, once the eager audience gained entry, I was immediately struck at the the instantaneous lift in spirit and presence of joy. Perhaps in an effort to buy more time to work out some rumored opening night tech glitches, as the audience took their seats, a few members of the company casually gathered on the edge of the stage and began an impromptu jam sesh. Once the anxious audience had filtered in, and assumably, the technical issue resolved, the show began. 

Even the most casual of SpongeBob fans will surely marvel at what lighting designer Kevin Adams, projection designer Peter Nigrini,  sound designer Walter Trarbach and costumer and set designer David Zinn, together with director and co-conceiver Landau have created, for the visual and audio results do indeed transform the venue into an entrancing and inviting underwater land of laughter, fun and friendship.

Of course what makes The SpongeBob Musical even more enchanting is, well, the music. The soundtrack boasts tunes by an undeniable who’s who from virtually every genre of music and I do mean EVERY genre…throughout the show the audience is treated to tunes by everyone from Cyndi Lauper, Plain White T’s and Aerosmith’s Joe Perry and Steven Tyler to Yolanda Adams, Panic! At the Disco, Lady Antebellum and more. In addition to all the new music written specifically for the musical, there’s even a reworking of David Bowie’s No Control from his 1995 Outside release that reunited him with Brian Eno. When I say this musical has something for everyone, I mean it, and that’s largely thanks to original SpongeBob Broadway music director Patrick Hoagland, arranger Tom Kitt, music coordinator John Mezzio, music supervisor Julie McBride and touring music supervisor Timothy Hanson.

Speaking of the show’s music, the opening number, Bikini Bottom Day (by indie/folk singer/songwriter Jonathan Coulton) as performed by SpongeBob and company perfectly sets up the feel of the show. As SpongeBob (Lorenzo Pugliese) awakens and prepares to head to his job as a fry cook at The Krusty Krab, Bikini Bottom’s most popular eatery, he sings this cheery wake-up. As he passes by his best pal, a rather large pink starfish named Patrick Star (Beau Bradshaw), Patrick questions if it’s morning already, to which SpongeBob replies, “It sure is and I’m singing the opening number.” That hilarious lyric serves to let the audience know that the lines are indeed blurred between fantasy and reality, between cartoon and human, between Bikini Bottom and the rest of the world. The remainder of the opening also introduces us to SpongeBob’s other bestie, Sandy Cheeks (Daria Pilar Redus), a science-lovin’, karate-choppin’ squirrel who lives underwater thanks to a diving suit and helmet.

This seems as good a time as any to further elaborate on the look of the characters. As alluded earlier, rather than SpongeBob and company looking like a furry fetish convention has converged upon the town, goofy oversized amusement park or sportsball mascot costumes are nowhere to be found. Instead of Pugliese being confined to a giant yellow square spongy costume, as SpongeBob, he’s the human personification of the character dressed in a short-sleeved yellow button-down with a red tie, suspenders and brown checked pants. He plays the plucky sponge with a childlike excitement reminiscent of Paul Rubens’ Pee Wee Herman, making you feel he is truly excited to be in this show.

Meanwhile, Bradshaw’s Patrick, rather than being covered in pink makeup from head to toe, is simply dressed in loud green board shorts, a pale pink Hawaiian floral shirt, bright pink socks and sneaks, all topped off with a pink fauxhawk. He’s the perfect Hardy to Pugliese’s Laurel, bringing a simplistic, good-natured kindness to the role. 

As Sandy, Redus wears a simple white science-y-looking jumpsuit and in place of her bubble helmet, hair and wig designer Charles G. LaPointe has opted to have her wear an afro, accented, of course with Sandy’s signature pink hibiscus bloom. Redus’s Sandy is smart and reserved when needed and her over-the-top southern accent—Sandy’s from Texas, after all—fit right in here in Nashville. 

While there are several other costume highlights featuring all the colors of a box of crayons, including Sheldon Plankton & his robot wife, Karen (Tristan McIntyre & Caitlin Ort), Mr. Krabs (Zach Kononov), Pearl (Miami Maszewski), Mrs. Puff (Natalie L. Chapman) and the Sardines, it’s Larry the Lobster (Dorian O’Brien) and Squidward (Cody Cooley) who get the biggest reception from the audience due to the cleverness of their costumes.

As I said at the beginning of this review, while you don’t have to be a fan of the animated series, I’ve been told if you are, there’s tons of Easter eggs peppered throughout. While I hadn’t seen more than a few episodes of the series prior to attending the stage musical, I must admit, in the days since, I’ve set my dvr to record SpongeBob and as I’ve found myself staying up late to bingewatch ‘just one more episode’, I’ve picked up on a few things. One example…late in the show, when the residents of Bikini Bottom are celebrating their survival of the volcano, Patrick asks if mayonnaise is an instrument…for those of us in the know…that’s a reference to a 2001 episode title Band Geeks in which Patrick poses the now famous question (famous at least to the legions of fans who’ve tuned into the animated series for two decades now).

I love that the stage version includes a foley artist, credited as Foley Fish. It’s also pretty cool that said foley artist is Ryan Blihovde is a graduate from Nashville’s own Belmont University! As the on-stage Foley Fish, Blihovde provides live sound affects like the spongy squish of SpongeBob as he walks across the stage or the thud of Pearl’s footsteps. She’s a whale in the animated show, thus explaining yet another inside joke that viewers will no doubt appreciate, when she mentions she and her father, Mr. Krabs are different species. 

Which reminds me…if you’re thinking SpongeBob The Musical is only for kids, think again…in addition to the plethora of hummable tunes, gorgeous set design and overall visually stunning look of the show, there’s more than a few levels of humor for all ages. Yes, some jokes are obvious and the kids in the audience were loving it, but there were a few moments peppered in just for the adults. One in particular that resulted in an audible guffaw from yours truly happens when Sandy is explaining how she can stop the volcano. During her presentation, she taps a wipeboard with a pointer as detailed drawings of her theory appear. In the last slide as she explains how her Eruptor Interruptor will save Bikini Bottom, the illustration on the board looks suspiciously like a lady’s bikini area…pre-wax. I about spit out my limited edition Seanut Butter and Jellyfish Goo Goo Cluster! And yes, you read that right…Goo Goo, one of Nashville’s most famous confectioners has teamed with TPAC to create a special chocolate covered peanutty treat, with a sea of surprises inside, available exclusively in the concessions area during the run of SpongeBob The Musical, but I digress.

With a story concerning the possible end of days for the residents of Bikini Bottom, thanks to the pending eruption of a volcano, Kyle Jarrow’s book of the musical is simple…SpongeBob and friends must overcome their insecurities to band together to save the day. To that end, the story broaches lessons in relationships, good vs. evil and never underestimating ones own self-worth. That’s just one aspect of the show that does a brilliant job of playing to both the youth and the older members of its audience, for what’s a show based on a cartoon worth, if there’s not at least a few morals to the story cleverly hidden among the laughter and songs?

On that note, musical highlights are a plenty in SpongeBob The Musical. BFF features Pugliese and Bradshaw’s SpongeBob and Patrick in an all-out declaration of their bond. The catchy tune penned by Plain White T’s is simply joyous. 

Pugliese gets his show-stopping moment as SpongeBob with (Just A) Simple Sponge, Panic! At the Disco’s contribution to the score. During this number, Pugliese’s SpongeBob defies the expectation and label put upon him by his boss, Mr. Krabs as he announces he is NOT A Simple Sponge. The visuals of this song heightened by the use of blacklight and ensemble members dressed in black blending into the background behind SpongeBob while neon yellow sponge squares dance behind him forming everything from musical notes as he plays his trademark noseflute, to taking shape of a superhero cape, a bit of foreshadowing for the audience of SpongeBob’s inevitable hero status by show’s end.

Daddy Knows Best, featuring Kononov and Maszewski as Mr. Krabs and his daughter, Pearl, showcases both actors vocal skills in a tune that’s neatly nestled somewhere between Streisand’s Papa Can You Hear Me from Yentl and Minnelli and Grey’s Money Makes the World Go ‘Round from Cabaret.

Hero Is My Middle Name, penned by Cyndi Lauper and Rob Hyman, and performed herein by Pugliese, Bradshaw and Redus is another inspiring anthem during which our trio convince each other they can indeed save Bikini Bottom. 

Super Sea Star Saviour, Yolanda Adams’ addition to the score, features Bradshaw’s Patrick surrounded by adoring sardine followers that just might put you in mind of JC Superstar mixed with a little Sister Act.

As he does with his four-tentacled wardrobe, Cooley’s Squidward also steals the show musically with his long-anticipated Act 2 epic number, I’m Not a Loser that kicks off with an almost unseen quick-change into a sparkly tux and continues with some of the show’s most tap-tastic footwork, including a Busby Berkley-inspired kickline featuring ensemble dancers backing. Christopher Gattelli’s choreography is showcased here, but shines throughout the entirety of the musical. Executed so effortlessly by the entire ensemble, it’s easy to forget the hours they must put into it to make it seem so simple.

A few reprisals—more great original numbers like John Legend’s sweet (I Guess) I Miss You and Chop to the Top, from Nashville’s own Lady Antebellum, which includes some impressive physicality from Pugliese as he and Redus climb the volcano to thwart its erupting—and the story wraps neatly with the expected outcome of SpongeBob and friends saving the day, and their beloved Bikini Bottom. But don’t rush out of the theatre in hopes of beating the crowd to the valet or your’ll miss a post-script all-in of the entire company (and it’s grateful uplifted and joyous audience) as the night ends with a rousing rendition of that earworm of a theme song from the original animated series!

The SpongeBob Musical continues its Music City stop with shows at TPAC through Sunday, November 10. Friday & Saturday evening performances are at 8p.m. Saturday and Sunday matinees are at 2p.m. and 1p.m. respectively and the show wraps with a final Sunday evening performance at 6:30p.m. Tickets range in price from $45-$90. CLICK HERE to purchase tickets or from more information.

Not in Nashville? The SpongeBob Musical continues its National Tour with dates across the US and Canada including stops in Oklahoma City, Dayton, BrookVille, New Brunswick, Philly, Toronto, Detroit, Wilmington, Morgantown, Lexington and more through July 2020. CLICK HERE to purchase tickets in your area or to see the full tour schedule.

To keep up SpongeBob and the entire Bikini Bottom gang, follow SpongeBob The Musical on Facebook, Instagram, Twitter and YouTube.

Up next at TPAC, it’s the beloved favorite, CATS, followed by the highly anticipated Hamilton as their 2019-2020 Broadway Season continues. CLICK HERE for tickets or more info. You can also follow  TPAC on Facebook, Twitter and Instagram.

Wanna check out previous Rapid Fire conversation

Just last week as the cast of The SpongeBob Musical’s first-ever National Tour prepared to turn TPAC’s Andrew Jackson Hall into their beloved undersea world of Bikini Bottom, I had the chance to pose a few questions to Lorenzo Pugliese, Beau Bradshaw and Daria Pilar Redus who star as SpongeBob and his besties, Patrick Star and Sandy Cheeks. So, sit back, grab a carton of Drinkable Sausage and check out the conversations below!

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RAPID FIRE FIVE WITH LORENZO PUGLIESE, SPONGEBOB SQUAREPANTS IN THE SPONGEBOB MUSICAL

JHP: I understand you were actually a fan on the SpongeBob animated series when you were a kid. What’s it feel like to now be playing him in the Nation Tour of the stage musical?

LORENZO PUGLIESE: It’s a dream come true! If you told me even a year ago that I’d be playing SpongeBob in the First National Tour of The SpongeBob Musical, I’d probably tell you you were crazy.

JHP: Do you have to be a fan of the series to enjoy the stage version?

LORENZO PUGLIESE: Not at all! Part of the genius of this show is that it works both ways. Whether or not you’ve seen the TV show, you’re going to love this musical. Because with or without the association of these iconic characters, you are getting a fantastic story with great characters and a killer score!

JHP: The animated version was created by the late Stephen Hillenburg. While the essence of his characters is ever-present, the musical’s co-creator and director Tina Landau has opted to give the characters a more human appearance. Your own character, for instance, as SpongeBob, you’re not sporting a bright sunshine yellow costume made of sponge and you’re not wearing square pants. Was it more of a creative challenge for you to find SpongeBob’s voice and characteristics without the benefit of the animated version’s trademark physical appearance?

LORENZO PUGLIESE: Being able to bring this super iconic character to the stage was and is the hardest thing I’ve ever done. But having the privilege to work with the original creative team that put this whole show together has made it possible. My character is a result of their brilliant direction and guidance.

JHP: Was SpongeBob really your first professional audition?

LORENZO PUGLIESE: SpongeBob was my first ever New York audition! It feels like I won the lottery.

JHP: Just between us….what’s the secret ingredient in the Krusty Krab’s most infamous menu item, the Krabby Patty?

LORENZO PUGLIESE: I’ll never tell 😉

RAPID FIRE FIVE WITH DARIA PILAR REDUS, SANDY CHEEKS IN THE SPONGEBOB MUSICAL

JHP: In the animated series, Sandy is a science loving, martial arts practicing squirrel from Texas. How much fun are you having playing het?

DARIA PILAR REDUS: Sandy is such a rewarding role to play! It’s a blast to do martial arts and show off the smarts while getting to tap into the more vulnerable, soft side of Sandy as well. It’s a side that we don’t get to see a lot of in the animated series, so I love being able to explore all of her layers!

JHP: Prior to being cast, had you seen the musical or were you very familiar with the original animated series?

DARIA PILAR REDUS: I saw the musical during its run on Broadway and absolutely loved it! I was a HUGE SpongeBob fan growing up, and actually remain a fan of the animated series to this day. After seeing the musical in NYC, I couldn’t wait until I’d get the chance to be a part of something as beautiful and fun as The SpongeBob Musical!

JHP: From the images and clips I’ve seen, scenic and costume designer David Zinn has done a marvelous job representing the fun and vitality of Bikini Bottom, even winning the Tony for SpongeBob’s scenic design. Is there a set detail or particular costume that you wish every audience member could get a closer look at to truly appreciate his creative genius?

DARIA PILAR REDUS: Absolutely! I wish everyone could get a close up on Squidward’s legs, although they’re so cleverly done that perhaps they should remain a mystery! The Mermaid costume is actually a collection of colorful rubber kitchen gloves that creatively make up the tail! Every costume in the show was designed so creatively and specifically!

JHP: Also mirroring that same energy is the show’s choreography by Christopher Gattelli, who won the Tony for his choreography of Broadway’s Newsies. How would you describe the choreo in SpongeBob?

DARIA PILAR REDUS: The choreography alone is a reason to come and see the show! There is everything from tap, to hip hop, classic musical theatre, and more! It’s specific, clever, and downright awe-inspiring.

JHP: Hero Is My Middle Name, written by Cyndi Lauper and Rob Hyman and performed near the end of Act 1 by you, Beau and Lorenzo, has proven to be one of the show’s most beloved songs. Performing it night after night the past few weeks as the tour has began, what has the song come to represent to you?

DARIA PILAR REDUS:  Sandy’s circumstances in this song are quite a bit different from that of her two friends. After being outcasted by the community she trusted for so long, it isn’t an easy decision to forgive and do what’s best for the greater good. But she does just that. This song is about friendship, loyalty, forgiveness, courage and strength. The journey from being defeated to being unstoppable is challenging, Sandy is more sure of her decision every new show!

RAPID FIRE FIVE WITH BEAU BRADSHAW, PATRICK STAR IN THE SPONGEBOB MUSICAL

JHP: Alright, I’m just gonna ask. While studying musical theater in college in Pittsburgh, did you ever fathom that a year later you’d be touring the country as the human counterpart to a famous pink cartoon starfish?

BEAU BRADSHAW: Actually, yes! I saw this show on Broadway during my senior year of college and all I could think about was how much I wanted to play Patrick. This is really a dream come true. 

JHP: Speaking of touring, what’s life on the road been like since the tour first kicked off just a few weeks ago?

BEAU BRADSHAW: Life on the road is a lot of fun. Getting to see all of these different cities is definitely the best part. The worst part about it is all the packing we have to do. 

JHP: As Patrick, you share a lot of your onstage times with Lorenzo’s SpongeBob. What’s he like as a on-stage best pal?

BEAU BRADSHAW: He’s the best. I couldn’t ask for a better scene partner. We really feed off of each other’s energy and that makes the performance exciting and new every night.

JHP: I have to confess…while my nephews grew up watching SpongeBob, I’ve honestly never seen an entire episode. Do you recommend a quick binge of a few episodes before taking in the show, or is it entertaining in its own right that familiarity with the characters isn’t necessary?

BEAU BRADSHAW: If you’ve watched SpongeBob you will definitely be rewarded with some fun Easter eggs but it’s definitely entertaining all on its own. The music alone is a reason to see this show. 

JHP: You’re not just playing an iconic character, you’re also performing musical numbers by some of today’s most iconic and well-known musicians, singers and songwriters. What’s that like, and do you have a favorite amongst the show’s tunes?

BEAU BRADSHAW: I feel so fortunate to be able to sing music by these amazing artists. The score is so well written that it’s honestly, an actor’s dream. My favorite song would have to be (I Guess I) Miss You by John Legend. It such a beautiful song about two best friends realizing how much they love one another. It’s also one of the shows only ballads.

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To keep up SpongeBob and the entire Bikini Bottom gang, follow SpongeBob The Musical on Facebook, Instagram, Twitter and YouTube.

Wanna check out previous Rapid Fire conversations? CLICK HERE. 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.

When I heard Chaffin’s Barn Dinner Theatre was presenting a production of The Wedding Singer, I gotta admit I was excited; mostly because I have had a celebrity crush on Drew Barrymore since her Poison Ivy, Boys on the Side and Mad Love Days, but also because I am of a certain age, the 80s were MY decade. 

While the stage musical is based on the 1998 film of the same name which starred Adam Sandler alongside Barrymore, Sandler has never been a favorite of mine, but the presence of Barrymore and a plethora of 80s music, 80s pop culture and 80s references combined to make the film enjoyable and the perfect property to make the transition from screen to stage.

The story tells the tale of a somewhat ne’er do-well wannabe rock star named Robbie Hart who not only gets left at the alter early on, but also falls for a girl who seems out of his league and simultaneously finds himself paying his musician dues as frontman for a trio whose primary gigs consist of bar mitzvahs, birthdays, retirement parties and wedding receptions. 

Speaking of wedding receptions, with the help of props department: Joy Tilley Perryman, Annie Magan, Jenny Norris, Tammie Whited, stage manager Catherine Wynne Reeves, assistant stage manager Alexis LaVon, tech director Robin Lawshe, lighting designer Daniel DeVault, audio engineers Jacob Allen and Russ Sturgeon and musical director Rollie Mains, the show’s director Curtis Reed and company have turned Chaffin’s Barn into an iconic 80s reception hall, complete with prop wedding cake centerpieces on each table and scrumptious wedding cake added to the dinner theatre’s dessert menu. 

Further immersing the audience into the spirit of an 80s wedding reception feel, before the show began, members of the cast mingled with the audience chatting about the bride and groom.

Interestingly, while the movie soundtrack was chocked full of 80 rock and punk hits by everyone from The Police to Psychedelic Furs, the stage iteration of The Wedding Singer features virtually no covers, and instead boasts a soundtrack of tunes written specifically for the stage with music by Matthew Sklar and lyrics by Chad Beguelin. Beguelin also collaborated with Tim Herlihy, the original movie’s screenwriter to pen the book of the musical.

Even though such well-known tunes from the movie like New Order’s Blue Monday and David Bowie’s China Girl are nowhere to be found in the stage version…I’m guessing the original Broadway producers didn’t want to pony up for all those song rights…the original score does indeed possess a totally 80s vibe.

But here’s the thing. Director Curtis Reed, who also choreographed and co-stars in a multitude of supporting cameos, doesn’t need to rely on 80s pop hits to convey the mullet-lovin’, shoulder-pad wearin’, era. Thanks to Reed’s choreo genius, astute audiences will spot nods to everything from a little Thriller-ography to a few decidedly boy-band dance moves. That paired with the show’s mostly, but decidedly retro tunes, help the audience feel as if they’ve might have gotten a ride in Doc’s Lamborghini for a trip back to the righteously tubular 80s.

Of course it doesn’t hurt that Reed has costumers Miriam Creighton and Emily Irene Peck dressing the cast in iconic 80s styles of powder blue tuxes, color-blocked pastels and fashions inspired by 80s pop fashion legends like Madonna, Boy George and more. The only thing missing were parachute pants.

On the subject of the cast, Alex Pineiro stars as the aforementioned Robbie. Having seen Pineiro in a couple of shows in the past few years, I was excited to learn he had been cast in the lead and I’m here to tell you, if he’s not already, this performance should put Pineiro on the radar of every theatre director in town. As I mentioned above, Sandler has never been one of my favorites, and even with Barrymore as a co-star, his performance in the original film was still my least favorite. That said, Pineiro somehow manages to make you forget Sandler as he not only makes Robbie his own, but makes the audience root for him to get the girl and cheer him on in the process. He’s never more charming that when he’s a bit down-and-out.

Among Pineiro’s standout co-stars are Natalie Rankin as Julia, (the Drew Barrymore role); Daniel Bissell and Nico Rion as Robbie’s bandmates, Sammy and George; Chloe Cahill as Sammy’s feisty girlfriend; Matt Moran as Julia’s intended, Glenn;  Vicki White as Robbie grandmother, Rosie and Jenny Norris as Linda, Robbie’s runaway bride.

Of those cast members, Rion turns in a Boy George-inspired hilarious performance poking just the right amount of fun at the now pc concept of gender fluidity back when it was just called flamboyant. Meanwhile White’s turn as Robbie’s rappin’ granny steals every scene she’s in. 

With the musical soundtrack devoid of the aforementioned 80s chart-toppers, the musical numbers won’t likely make your post-show playlist, but in the moment, you just can’t help but bop your head to the decidedly 80s rhythms. That said, musical highlights include Awesome a sweet duet between Pineiro’s Robbie and Rankin’s Julia, Somebody Kill Me, Robbie’s angst-ridden emo number made famous in the movie, Rion’s glitterific George’s Prayer and All About the Green in which Glenn expresses himself as a bit of a material boy.

As if those already mentioned don’t pack enough star-power into the production, the supporting ensemble members all turn in noteworthy performances including Tyler Inabinette, Lauren Woodward, Bethanie Lyon, Seth Brown, Austin Jeffrey Smith, Kathleen Mitchell, Kaleb Frey, Aubrey Guice, Seth Bennett and the always fabulous Tosha Marie and the much-mentioned and beloved Reed. From giddy bridal girls (Nashville knows a thing or two about those) and overbearing wedding party members to a handful of celeb impersonators (a hilarious scene thankfully held over from the film) including Brown as Cher (or at least a drag version thereof), Smith as a leather pants-wearing, sneering Billy Idol and  Marie as the cutest, thinnest, youngest Tina Turner I’ve ever seen on stage. With enough sights, sounds, fashions, feelings and pop references to fill an 80s scrapbook, Chaffin’s The Wedding Singer is one wedding party you don’t wanna miss. Performances continue through October 19. CLICK HERE or call 615.646.9977 for reservations. 

Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). Sunday matinees begin at 2 p.m. (with doors at noon for lunch service.

Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu. 

While The Wedding Singer wraps its run on the Mainstage this weekend, Greater Tuna starring Greg Frey and Scott Rice opened earlier this week at Chaffin’s Backstage, with shows continuing thru November 2. CLICK HERE for tickets or more info. Up next at Chaffin’s on the Mainstage is Ollie’s Diner directed by Joy Tilley-Perryman, running October 24-November 2. CLICK HERE for tickets or more information. As a special deal, the theatre is offering buy-one-get-one for both of these upcoming shows. To take advantage of the BOGO for Greater Tuna, call the box office and mention the promo code: TUNATEXAS. To get BOGO tix for Ollie’s Diner, mention promo code: GHOST.

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

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

Before attending Opening Night of the Nashville leg of Dear Evan Hansen’s current national tour at TPAC’s Jackson Hall this past Tuesday, I didn’t really know much about the show. I knew the basics…it’s the story of a highschooler who doesn’t fit. I knew there was something about bullying and that it touches on the ever-increasing teen suicide epidemic, but beyond that, I was clueless. Shoot, I didn’t even listen to the soundtrack until I was getting ready to attend the show. My ignorance ended up being a good thing, as it’s refreshing to attend a show I’ve never seen.

Interestingly, the night of Dear Evan Hansen’s Music City premiere also coincided with World Suicide Prevention Day. Having lost a dear friend to suicide nearly a decade ago, I wasn’t sure how I’d react to the show, especially given the fact that upon entrance to the theatre, more than one friend in attendance suggested I have plenty of tissue on-hand as the show would likely ‘make my eyes sweat’ as my Uncle Gary would say.

While Dear Evan Hansen is indeed a surprisingly moving piece of theatre as it delves into the story of a teenage boy balancing a dysfunctional home life with being a loner at school, apparently I’m all cried out, as I only shed a single tear during the show’s eponymous Act 1 closer.

Don’t get me wrong, though. Everything about this show is spectacular, from the pre-curtain audio and visual clues that we live in an absolute social media driven world to the stellar performances of the entire cast. 

On the subject of the audio/video, scenic designer David Korins, who’s worked on everything from Pee Wee Herman Show on Broadway to Hamilton and projection designer Peter Nigrini, along with lighting designer Japhy Weideman and sound designer Nevin Steinberg create a magnificently overly-stimulating muti-media backdrop, the perfect physical representation of just how overwhelming things can get for your average adolescent, especially in the ‘hate-like’ social media world we all now live in.

Ben Levi Ross is nebbishly nerdy Evan Hansen, presenting our stories hero/anti-hero with characteristics completely relatable to anyone who ever found themselves on the outside looking.

Cast as Evan’s mom, Heidi Hansen is Jane Pfitsch. She plays the parent oblivious to her son’s life with an equal balance of genuine concern and practical absence.

Seemingly juxtaposed to Evan’s and his mom’s life are the Murphy’s an affluent upper-middle class family consisting of dad, Larry (Aaron Lazar), mom, Cynthia (Christiane Noll), daughter, Zoe (Maggie McKenna) and son, Connor (Marrick Smith). 

I say seemingly because it’s soon revealed that the Murphy’s aren’t exactly The Cleavers. I fact they’re far from it. 

Regardless of how different the two family units are, the commonality is quickly discovered right at the top of the show when Noll and Pfitsch duet (from their respective homes) on Anybody Have a Map?, a tune that brings to the forefront the shared struggles of parenthood.

Next up, Waving Through a Window features Ross and company as the themes of isolation and being an outsider come to light.

Of all the musical moments presented in Act 1, Requiem is among the most gorgeously presented. Following the SPOILER ALERT sudden death of Connor, his family each deal with the tragedy in their own way. Requiem also serves to showcase three of the show’s most talented vocalist, McKenna in particular, who’s vocal skills seem, at lest to me, nestled beautifully somewhere between Sarah McLaughlin and Amy Winehouse.

Moving the plot along, in a bit of a contrived, but ultimately interesting way, Evan becomes embroiled in the Murphys’ lives following their son’s death. For you see, what was initially intended to be a writing exercise assigned by Evan’s therapist, mistakenly becomes thought to be Connor’s suicide note.

Fueled by his own insecurities, his need to please others and a desire to be part of a cohesive family unit, Evan keep silent about the mixup, even adding to the deception by creating an entirely fabricated friendship with the deceased young Murphy by way of faking back-dated emails between the two teen boys with the aide of Evan’s cousin, Jared  (played by Jared Goldsmith) and a memorial social media presence created by fellow classmate Alana (Phoebe Koyabe).

As Evan’s web of lies expands, he not only gets in too deep to turn back, but he also experiences popularity at school, newfound friendships and an unexpected closeness with the Murphys, including a budding romance with Zoe.

Act 1’s Disappear, which features what is, in essence, Evan duetting with the deceased Connor proves one of the show’s most touching musical moments, starting somberly, then crescendoing to an interestingly upbeat number. Disappear is a perfect example of how the book by Steven Levenson, with music and lyrics by Benji Pasek and Justin Paul find a gorgeous balance between the seriousness of the subject matter peppered with just enough lightness to keep the tears at bay for the most part. That said, I dare anyone to keep a dry eye during Act 1’s final number, You Will Be Found.

For Act 2, as Evan finds himself closer and closer to the Murphy’s To Break in a Glove presents the father/son moment he (and most) dream of as Mr. Murphy and Evan share a particularly sweet moment. 

If To Break in a Glove is that idyllic father/son moment, Only Us, featuring McKenna’s Zoe and Ross’ Evan is the quintessential boy loves girl highlight.

The remainder of Act 2 explores Evan’s inner conflict as he wrestles with fessing up to being the one who wrote the note believed to be Connor’s suicide note, perfectly vocalized in Words Fail, an emotional number whose haunting lyrics are among those that will surely remain long after audiences leave the theatre. 

Just as the show began with Evan’s mother questioning her abilities as a parent, the show ends with yet another touching tune, So Big/So Small, in which she comforts Evan in the wake of his deception exposed. 

Dear Evan Hansen wraps its Nashville tour stop with a Sunday matinee at 1 p.m. and a final early evening performance at 6:30 p.m. CLICK HERE for tickets or more information.

Following their Music City dates, Dear Evan Hansen continues its National Tour with upcoming dates across the US and Canada through September 2020. CLICK HERE to see when the show is coming to a theatre near you. 

TPAC’s 2019/2020 Broadway Season continues with Once On This Island coming to TPAC’s Jackson Hall October 15-20. The SpongeBob Musical November 5-10, CATS November 19-24, Hamilton December 31-January 19, My Fair Lady February 4-9, Blue Man Group February 11-16, Jesus Christ Superstar March 3-8, The Color Purple March 27-29, Escape to Margaritaville May 5-10m Summer: The Donna Summer Musical May 26-31 and Charlie and the Chocolate Factory June 9-14. CLICK HERE for more.

To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram as well.

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

Growing up, I was more into Agatha Christie’s super sleuths, Miss Jane Marple and Hercule Poirot than Sir Arthur Conan Doyle’s Sherlock Holmes. Nonetheless, I would find myself occasionally perusing the pages of a Holmes mystery from time to time and have always been a fan of The Final Adventure. For their current production, Chaffin’s Barn Dinner Theatre has chosen the stage adaptation of Sherlock Holmes: The Final Adventure by Steven Dietz, based on the 1899 play by William Gillette and Sir Arthur himself.

Directed by Daniel DeVault, Charles Winton stars as the famed detective with Michael Roark as Doctor Watson, Shannon Hoppe as Irene Adler and Benjamin Jones as Professor Moriarty. Whether you’ve read only a story or two by Sir Arthur, or perhaps caught an episode of CBS’s recently-ended Elementary, chances are you’re familiar with these characters, as Watson is and always will be Sherlock Holmes’ trusted friend and right-hand-man, while Moriarty is frequently seen as the venerable detective’s arch nemesis and Adler the object of Holmes’ affection.

From the start, director DeVault perfectly presents a shroud of mystery necessary in carrying off a believable Holmes tale. I particularly enjoyed the film noir-esque way in which a couple of the story’s characters were introduced. While Watson and Holmes discuss them, the audience is treated to visual preview as they are seen in daunting silhouette behind a scrim just off-stage. 

Winton is enjoyable as Holmes, playing the part of the inexplicably astute detective with a knowing sense of self and just the right amount of humor.

As for his erstwhile companion, Doctor Watson, Roark, too, is perfectly cast. Making her Chaffin’s debut, Hoppe’s Irene is initially presented as the damsel, but as story evolves, so to does her character, leading one to realize she just might be causing a bit of the distress herself. Of the performances, Hoppe’s is the most layered, but she plays is so well those layers slowly reveal themselves.

Meanwhile, Jones’ Moriarty is blissfully, entertainingly played to the max, channeling every dastardly over-the-top villain from Die Hard’s Hans Gruber to James Bond’s Dr. No. All that’s missing is the occasional evil laugh.

Also watch-worthy is Josh Kiev as the King of Bohemia, who hires Holmes to help retrieve a potentially compromising photo of himself and Irene in the days before the King is to wed, thus setting up the web of lies and deceit that evolves into the usual Holmes murder plot.

Rounding out the cast are Moriarty’s villainous compadres, Gabe Atchly as James Larrabee, Laura Proctor as Madge Larrabee and Scotty Phillips as Sid Prince.

Director DeVault and his skilled cast present a thoroughly enjoyable—if sometimes predictable—adventure filled with intrigue, plot-twists, romance and…death. Costume designer Miriam Creighton’s wardrobe, along with Joy Tilley Perryman’s period-perfect props and Kaitlin Barnett’s sound design, with DeVault also serving as lighting designer, comes together brilliantly as they bring a little classic tale of murder to the beloved dinner theatre.

Sherlock Holmes: The Final Adventure runs through Sunday, September 15. Thursday-Sunday. Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). Sunday matinees begin at 2 p.m. (with doors at noon for lunch service.

Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu. 

Next up at Chaffin’s Barn Dinner Theatre is The Wedding Singer, starring Alex Pineiro, on stage September 19-October 19. CLICK HERE to purchase tickets or call 615.646.9977 to make reservations with the box office. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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