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Entertainment News, Reviews and Interviews

Rapid Fire Q&A with ‘Miss Saigon’ cast members Anthony Festa and Stacie Bono; at TPAC’s Jackson Hall thru Sunday, June 9

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Earlier this week as the National Tour of Miss Saigon prepared for their current stint in Nashville at TPAC’s Jackson Hall Tuesday, June 4 through Sunday, June 9, I had the chance to pose a few questions to two of the show’s lead actors for the latest installment of my recurring interview segment, Rapid Fire Q&A. Up first is my conversation with Anthony Festa, who plays fresh-faced U.S. soldier, Chris, who, while stationed in Vietnam, meets and falls in love with a local Vietnamese teenager name Kim. Following my conversation with Festa, I had the opportunity to chat with Stacie Bono who plays Ellen. Ellen is the young American woman Chris marries following his return to the U.S. after the war.

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RAPID FIRE Q&A WITH MISS SAIGON’S ANTHONY FESTA

 JHP:  What can you tell me about Chris, the character you play in the current National Tour of Miss Saigon?

ANTHONY FESTA: Chris is an American G.I during the fall of the Vietnam war who falls in love with Kim a young girl orphaned by the war. The story of our show takes you through his life leading up to the evacuation and the impact of the war’s trauma after.

JHP: While researching to chat with you, I ran across a promo clip in which you say Miss Saigon taught you musical theatre. What do you recall about your first knowledge of this piece?

ANTHONY FESTA: The first time I ever saw this show I was 14 and my father, who has since passed away, pointed up on stage and said “this is a role for you, Anthony”. I find it full circle to be playing it now. In high school I had a CD (remember those?) that I played in my car that had half Rent songs and half Miss Saigon songs on it. I sang the songs on my way to school every day.

JHP: For those who may or may not be familiar with the show, what’s new and different about this production?

ANTHONY FESTA: Our director, Laurence Connor has re-imagined this production completely. From minor script changes to a new helicopter design that really blows the audience away ever single night. Working directly with the entire creative team and Cameron Mackintosh (the show’s original creator) himself has been an amazing experience. The entire team has brought nuance to the piece and really allowed our cast to breath a whole new life into it.

JHP: From what I know, this isn’t your first National Tour, having been part of 2016’s Wicked tour, but this is your first visit to Nashville, right? Is there anything you hope to visit and share with your current cast while here in Music City?

ANTHONY FESTA: The Wicked tour launched in 2009 and just celebrated its 10th year on the road, I wasn’t a part of it until 2016! I didn’t experience Nashville but I’m extremely excited to for the first time now. I enjoy the food and culture in all the cities we visit and I hear Nashville has quite a lot of both!

JHP: If there were a ‘Seven Wonders of Musical Theatre’ list, alongside the chandelier from Phantom, surely the helicopter from Miss Saigon would take its rightful place among the top marvels. You mentioned it above, but I’m curious…it’s  always a thrilling scene for the audience, what’s it like to play that scene night after night from city to city?

ANTHONY FESTA: It’s in a word “iconic”. The helicopter is a multi-million dollar set piece that moves on many different axis points and shutter effects. I marvel at how brilliant the design is every single night and yes it’s right up there with Elphaba flying and the chandelier falling. The audience will feel the wind of this chopper blowing their hair back and the evacuation scene, most commonly, will result in them picking their jaws up off the floor.

JHP: As Chris, you get the joy of not one, but two on-stage romances, first there’s Emily Bautista as Kim, the young local girl Chris falls in love with while stationed in Vietnam. Then there’s Stacie Bono as Ellen, the American girl Chris marries stateside. What’s your favorite aspect of sharing the stage with these two beautiful and talented actresses?

ANTHONY FESTA: Ahh man, I mean you sum it up right there. Beautiful and talented. Emily and Stacie are two amazing and empowering women in a time that I think we need that the most. The strength and journey of their characters is truly beautiful. As Kim, Emily takes on motherhood at such a young age and as Ellen, Stacie cares for an American GI with nothing but complete empathy for his war torn past and trauma.

RAPID FIRE Q&A WITH MISS SAIGON’S STACIE BONO

JHP: Having just chased with Anthony, I asked his favorite aspect of sharing the stage with you, so I’ll start our conversation by asking you…what do you enjoy most about sharing scenes with Anthony?

STACIE BONO: Anthony is so open onstage and we have built strong trust together. I’m confident that whichever direction I go in a scene, he will follow me and have my back. He’s also a super silly, lovable guy offstage and that helps to lighten up all the drama we have to endure onstage.

JHP: While Ellen is central to the action of the story of Miss Saigon, the audience doesn’t really get much backstory on her. I always find it interesting to ask actors what backstory they’ve created for their character that helps them bring a depth to the role. With that in mind…who is Ellen?

STACIE BONO: It is true that there is very little text about Ellen in the script, so I’ve had to use a lot of imagination to flush her out. It fascinated me how this woman was so tolerant of her husband’s outbursts and lack of communication – and she was dealing with this before the discovery of PTSD in 1980. My instinct was that Ellen had experienced this kind of trauma before with someone else she had loved deeply, her father, which gave her understanding and patience for her husband’s suffering. Ellen was very much against the war and went to several protests while in college and so when she falls in love with Chris, she feels it is almost her duty to heal him from what the Vietnam war did to him. Her immense compassion, warmth and empathy in dealing with Kim and Tam leads me to believe she has a career in social work or psychology. She knows how to handle people in stressful situations and keep her own emotions out of it… for the most part.

JHP: Even though the action of the piece takes place in the 1970s, there are so many elements of the story that are relevant today. What’s one aspect of the plot that you find most rewarding to shine a light to?

STACIE BONO: I fear we’ve reached a dangerous place of tribalism and isolationism in our country. We are obsessed with “Us vs. Them” and there is a lack of compassion for humans of other races and cultures. The central story of Miss Saigon is a mother’s sacrifice for her child. That is truly a binding commonality of the human condition that anyone can understand. My hope is that this story can open people’s hearts and inspire a little more tolerance and compassion for others.

JHP:  With so many gorgeous sets, costumes and scenes, what’s among your favorites? Whether you’re part of those scenes of simply admiring from side-stage?

STACIE BONO: My favorite scene is the nightmare. Now you may think it’s because of the awesome 3 ton helicopter in that scene – which is super cool – but it’s really my favorite scene because every single cast member is so committed to transporting the audience to this heartbreaking and epic moment in history. The music, lyrics and our company’s passion and devotion makes the scene so palpable. It makes me weep every time I watch it.

JHP: How’s life on the road been thus far during this tour?

STACIE BONO: Technology has definitely changed the touring life. It’s much easier to explore new cities with google maps and Uber in your back pocket and to stay in touch with your loved ones via FaceTime.

JHP: What’s the most rewarding aspect of being part of the newest chapter of such a beloved piece of musical theatre history?

STACIE BONO: It has been a dream come true to work and collaborate with the creatives of this show. These men are musical theater gods! I remember at one point in the rehearsal room, Claude-Michel Schönberg rewriting the opening of Maybe for me. That was pretty spectacular. It’s been an honor to put my little stamp on a character who has largely been maligned and misunderstood in the past. I hope my portrayal of Ellen has helped show that she is not a villain at all, but another victim of this story.

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With that my conversations with Festa and Bono came to a close, but it’s just the beginning of Miss Saigon’s Nashville tour stop as the famed helicopter lands on TPAC’s Jackson Hall stage in just a few short hours as the National Tour calls Music City home thru Sunday, June 9.

Showtimes are Tuesday-Thursday at 7:30p.m., Friday and Saturday at 8p.m. with matinees Saturday at 2p.m. and Sunday at 1p.m. with a final performances Sunday evening at 6:30p.m. Tickets range in price from $40 to $100. CLICK HERE to Purchase tickets or for more information.

Earlier today, TPAC announced the limited availability of $30 rush tickets for all performances. For a chance to purchase select seats at this special price, you must arrive at TPAC’s lobby box office 90 minutes prior to showtime, where you can enter to a ticket lottery drawing. Limit two per person while supplies last. 

If you’ve enjoyed this Rapid Fire Q&A, CLICK HERE to peruse previous conversations. Be sure and check back for my review of the show after tonight’s Nashville opening night performance.

Not in Nashville? CLICK HERE to see where Miss Saigon plays as the tour continues across the U.S. with dates announced through June of next year. For more from the National Tour of Miss Saigon, follow the company of Facebook, Twitter and Instagram. 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.

Opera Review: Nashville Opera’s ’The Cradle Will Rock’; limited engagement onstage at the Noah Liff Opera Center thru Sunday, May 12

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“The Cradle Will Rock” (All photos by Anthony Popolo/Courtesy Nashville Opera)

Just before the cast took to the stage for the Friday, May 10 opening performance of Nashville Opera’s The Cradle Will Rock, director John Hoomes welcomed the packed house with a bit of backstory to the piece. Having done a bit more research that usual prior to attending opening night—mostly because it’s been a while since I reviewed something at the opera, I was privy to much of what Hoomes relayed, so I thought I’d preface my review with a combination of details Hoomes shared, mixed with information I learned during prep for writing my review.

Back in 1937 during the worst days of the Great Depression, composer and lyricist, Marc Blitzstein teamed with director, Orson Welles and producer, John Houseman to create an American opera (alternately known as a play in music) overflowing with allegorical references to corporate greed, political corruption and filled to the brim with a cast of characters whose names frequently reflect that social and political status.

During its 1937 Broadway debut, The Cradle Will Rock’s story of a wealthy and powerful man silencing the efforts of the common man to unionize by shutting them down by whatever means necessary received an eerily similar real-life reception when, just days before the play’s scheduled opening, news came that President Roosevelt’s Works Progress Administration was temporarily closing down all new theatrical performances, going so far as to padlock the doors of the Maxine Elliott Theatre were The Cradle Will Rock was to debut. Legend has it, Welles and company felt certain this mandate had more to do with their piece’s radical pro-union themes and shuttering the theatre was a way to censor their voices.

Never one to shy away from controversy, Welles was determined to present his show, so he found a nearby theatre willing to rent him the space for a private event. On the scheduled opening night, Welles and 600 of his closest friends and patrons who had gathered outside the Elliott Theatre, walked some 20+ blocks to the Venice Theatre. Once inside, Blitzstein made his way to the stage where the piano had been brought from its original venue, while the actors sat among the audience. This was done because, in addition to the WPA ban, Actors’ Equity had stated that the cast could not perform onstage without express permission from the show’s producer, in this case, the government. Of course there was no mention as to whether or not ‘audience members’ could sing along should they by some chance know the words, so as Blitzstein began playing the opening notes of The Cradle Will Rock, the female lead stood from her seat in the audience and sang her part, with the other cast members following suit.

As Hoomes concluded his introduction to the piece, he also encouraged the audience to raise a glass as this performance not only celebrates the presentation of this legendary melding of opera and theatre, but also, on a more personal note, it marks the 10 year anniversary of Nashville Opera being housed in the gorgeous Noah Liff Opera Center.

With the piece’s backstory told—its uncanny relevance to hot-button issues still prevalent in government and society today, no doubt at the forefront of every audience member’s mind—the lights go up to reveal scenic designer Cara Schneider’s seemingly simplistic, but intricately thought-out set. As is typically tradition, given the show’s bare-bones history, it’s a mostly sparse stage, consisting only of a row of simple wooden chairs set against a painted backdrop resplendent with iconography of the day including the depiction of steel girders, American success flyers, a beautiful reproduction of Z. P. Nikolaki’s war bond advert featuring Lady Liberty using a candlestick telephone with the copy “Hello, this is Liberty speaking—billions of dollars are needed and needed NOW”, and even a hilariously tongue-in-cheek modern take on “Loose Lips Sink Ships” (I’ll leave it to you to approach the stage during intermission when you attend to catch that detail for yourself).

Megan Murphy Chambers as Moll

Megan Murphy Chambers, a darling of the Nashville theatre scene, is cast as Moll, a down on her luck young women who has turned to soliciting her body on the streets of Steeltown,USA in order to provide for herself. Equal parts vamp and vulnerable, with a spellbinding voice to match, Chambers gets things off on a high note as Moll laments I’m Checkin’ Home Now. Next up, Moll encounters a young man, Gent (Patrick Thomas in his first of two roles in the piece) looking for company…at a discount. Then the duo are interrupted by Dick (Jairus Maples), a less than honorable cop, who ends up arresting Moll after she refuses his advances.

This moves the action to the clink where Moll meets Harry Druggist (Shawn Knight) a formerly successful businessman who’s now the town drunk after a sad series of events, including the death of his son. Later in the show, Knight’s performance during the Drugstore Scene alongside Maples as his son, Steve and Charles Edward Charlton as Bug, a local heavy, is among the show’s more riveting moments.

They are soon joined by the majority of the remainder of the cast, Clerk (Brian Best), Cop (Mark Filosa) and The Liberty Committee, comprised of Yes Men and sellouts including: Reverend Salvation (Brent Hetherington), Editor Daily (Patrick Thomas in his primary role), Yasha, the violinist (Scott Rice), Dauber, the artist (Darius Thomas), Dr. Specialist (Brian Russell),  and President Prexy (Jennifer Whitcomb-Oliva). Eventually we are also introduced to Larry Foreman (Eric Pasto-Crosby), chief union organizer.

As you might have surmised by the aptronymic characters, Blitzstein wasn’t much for subtlety in that regard, or in the play’s over-all anti-capitalist slant. What you get is exactly what you see.

Members of The Liberty Committee

During the bulk of the piece, the audience is treated to exposition through song revealing who each character is, their relationship to the mysterious Mr. Mister and how they ended up where they are and how they came to be bribed, bullied and coerced into joining the committee to further his capitalist cause as they work to bust up the burgeoning unionization of the common man.

Galen Fott as Mr. Mister

Speaking of, the previously alluded-to community leader comes in the form of Galen Fott as Mr. Mister, a Trumpian figure if ever there was one complete with haughtier than thou wife Mrs. Mister (Martha Wilkinson) and dim-witted, superficial offspring Sister Mister (Jenny Norris) and Junior Mister (Chris Simonsen).

Steeped in a decidedly period-authentic jazz vibe, much of the music leans more towards early musical theatre than what is thought of as traditional opera. Chambers the obvious stand out in the more theatrical quartet of tunes that open the show.

Martha Wilkinson and Brent Hetherington as Mrs. Mister and Reverend Salvation

Other noteworthy musical moment come by way of Hetherington and Wilkinson’s hilarious duet Mrs. Mister and Reverend Salvation, during which we witness the ever-present relationship between church AND state, as the Missus leads the preacher to sermonize both sides of war, depending on her (and her husband’s) current financial opportunities where the subject is concerned).

The Freedom of the Press is another relatable, yet touchy tune as Mr. Mister and Editor Daily on what could easily been seen today as the origin of “fake news”. “News made to order” among the lyrics of a tune from 1937 is indeed still newsworthy today.

In numbers that are presented in the spirit somewhere between Nelson Eddy/Jeanette McDonald and Mickey Rooney/Judy Garland, Croon Spoon and Let’s Do Something are my personal favorites, mostly because they embody typical late-30s movie musical numbers with Norris’ giving us a breathy Mae Questel (Betty Boop) lightness matched by Simonsen’s devil-may-care swarthiness.

Chris Simonsen and Jenny Norris as Junior and Sister Mister

Keeping the mood seemingly comedic, but with tones of things to come, Honolulu shoves the unmotivated Trump Junior…er…um…uh…I mean Junior Mister off to the tropics to be a newspaper correspondent, in spite of the fact that he has no journalistic training.

The earlier-referenced Drugstore Scene plays next and is followed by Luke Harnish and Jessie Neilson in the sweet but eventually sad Gus and Sadie Love Song, during which the playwright manages to touch on bigotry and prejudices.

Matching her husband’s sense of entitlement in controlling other’s destinies, Mrs. Mister picks the arts as her playground, controlling sell-outs the Dauber (brilliantly played by Darius Thomas) and the equally scene-stealing Scott Rice as Yasha. While watching these three tease and taunt each other with the promise of prominence in their respective worlds, I couldn’t help but laugh along with the other patrons of the arts in attendance. Well-played, Blitzstein…equally well-played Hoomes! For who are we if we cannot laugh at ourselves?

Chambers takes centerstage again for the show’s most poetic tune, Nickel Under the Foot, in which she beautifully laments the haves and the have nots.

Thankfully, all is not lost in this battle of capitalism vs humanism with the late-hour introduction of Eric Pasto-Crosby as Larry Foreman, a pro-union common man arrested for “carrying cocieled deadly leaflets” Still another mirror to our current administration’s disdain for anyone speaking out against the establishment.

Eric Pasto-Crosby as Larry Foreman

Jennifer Whitcomb-Oliva as President Prexy is—no surprise—a delight. While it’s only a small role, compared to some others in the piece, Whitcomb-Oliva makes the most of what she’s given as the sole female member of the all-boys Liberty Committee. (in the original mounting, the entire Committee was played by men). During the limited time Whitcomb-Oliva is featured as the head of a local university, she shines, never once giving any indication that she wasn’t born to play this role, just as the talented actress and singer does with every role she lands. The Faculty Room Scene, in  which she is summoned by Mr. Mister to offer up one of her college’s professors who is to address young men and dissuade them from joining the union, is the perfect example of the power of persuasion and influence over young minds. Luke Harnish as Professor Trixie, who also just so happens to be the school’s football coach, hams it up to audible delight from the audience in yet another still-true stereotype that athleticism, machismo and boisterousness equals right and common sense.

Just as Mr. Mister has everything worked out to pursued the end of the union organizing, he visits Russell’s Dr. Specialist about the matter of the death of a steel worker who ‘fell to this death’…or was he pushed? Mr. hopes to convince the Dr. to release a statement saying Joe Worker was drunk.

Brooke Leigh Davis as Ella Hammer

Enter Brooke Leigh Davis as Ella Hammer, sister of the murdered steelworker, come to defend the memory of her brother when she questions Dr. about his intentions to defame her brother by indicating he was drunk. Davis, who, like many in this show, I’ve had the pleasure of seeing in a handful of productions around town, sets up the show’s crescendo ending with her powerful operatic performance during the show-stopping Joe Worker.

By the time the cast, led by resistance leader, Pasto-Crosby’s Larry Foreman, raise their defiant fists in the titular reprise, the audience can’t help but feel energized and motivated. Bravo to Hoomes, his entire cast and crew for sharing this historically significant and ever-timely piece with Nashville audiences.

Nashville Opera’s The Cradle Will Rock continues it’s limited run at Noah Liff Opera Center with an 8p.m. evening performance Saturday, May 11 and a final matinee Sunday, May 12 at 4p.m. The Cradle Will Rock is presented with cabaret seating. At the time of this review, limited seats remain with cabaret seating priced at $85 and side seating available for $26. CLICK HERE for tickets or more information.

The Cradle Will Rock stars Megan Murphy Chambers, Galen Fott, Martha Wilkinson, Eric Pasto-Crosby, Shawn Knight, Jenny Norris, Brent Heitherington, Patrick Thomas, Scott Rice, Darius Thomas, Brian Russell, Brooke Leigh Davis, Jessie Neilson, Luke Harnish, Charles Edward Charlton, Jennifer Whitcomb-Oliva Jarius Maples, Brian Best and Mark Filosa.

The Cradle Will Rock creative team is comprised of director and supertitles creator, John Hoomes, music director/pianist Amy Tate Williams, lighting director, Barry Steele, costume designer, June Kingsbury, scenic designer, Cara Schneider, wigs and makeup designer, Sondra Nottingham, prop master, Lucious Rhoads, production stage manager, Taylor Wood, technical director, Randy Williams, costume coordinator, Pam Lisenby, costume crew: Jayme Locke and Eleanna Flautt, wigs and makeup crew: Jennifer Ortiz, Alysia Faith and Tammy Potts-Merritt, supertitles operator, Anna Young.

Up next for Nashville Opera will be Madame Butterfly at TPAC’s Jackson Hall October 10-12 with tickets ranging in price from $26-$124. CLICK HERE for tickets or more information. You can also find Nashville Opera on Facebook, Instagram and Twitter.

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

Theatre Review: Betty Buckley and ‘HELLO DOLLY’–Dolly Levi, the matchmaker herself, wouldn’t meddle with this winning pair; at TPAC’s Jackson Hall thru Sunday

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Betty Buckley as Dolly Gallagher Levi in the National Touring Company of Hello Dolly (all photos by Julieta Cervantes)

If you’ve followed me on social media the past several weeks, you already know…Hello Dolly is MY Hamilton! That is to say—to me—Hello Dolly is the quintessential theatrical musical. Having last seen it onstage at TPAC nearly 25 years ago with the inimitable Carol Channing during her final national tour, I was literally giddy with excitement at the prospect of seeing it return to Nashville. What’s more, with Tony-winner Betty Buckley at the helm, I had no doubt the iconic Broadway star would put her own hand in it, to paraphrase the title of one of the show’s tunes.

I first saw Buckley on Broadway many years ago when I was a teenager during her original  run as Grizabella in CATS, so the thrill of seeing her again all these years later simply amplified the anticipation. Of course, Ms Buckley did not disappoint. After all, a legendary Broadway star in an equally revered role, what’s not to love?

As my companion and I made our way into Jackson Hall during Opening Night of the Nashville run, at first sight of the red velvet curtain surrounded by an arch of lights, I leaned over and told my friend, “when I start to cry, just stare straight ahead and ignore me”, for I just knew the magic that was in store would affect me to my core. Great live performances always do.

Sure enough as soon as the curtain rose and the gorgeously clad ensemble began singing Call on Dolly, tears began to well! Then, there she was, Betty freakin’ Buckley. They say first impressions are key and from those first moments, Buckley was Dolly!

For the uninformed, Hello Dolly is the story of Dolly Gallagher Levi, a widow-woman living in Yonkers, New York as the 19th century turns to the 20th, who has made a career of meddling, mostly in romantic endeavors. Currently employed by half-millionaire, Horace Vandergelder to find him a wife, Dolly makes her intensions known early on (at least to the audience) that she plans on snagging Horace for herself, furthermore, she plans on marrying him simply for his money, so she can “spread it all around”. All she needs is a sign from her late husband. In the process, there’s a couple of younger men who work for Vandergelder who are also searching for love, and of course a couple of lovely bachelor girls seeking same.

Buckley’s Dolly Levi is an absolute wonder to behold, lovingly peppered with just enough hints of Channing to please even the most obsessive of fans. On the subject of obsessions, perhaps because of my current obsession with FX’s limited series, Fosse/Verdon, I was also reminded of Gwen Verdon in the way Buckley delivered her lines and her songs. Through the carefully crafted patter of her delivery, whether singing or speaking dialogue, Buckley’s voice is rapid and melodic.

I could go on an on about Buckley’s performance and yes, she could absolutely simply stand on stage and sing each of the songs from Hello Dolly in concert and thrill audiences, but alas there’s more to Hello Dolly than Dolly Levi. For starters, Lewis J. Stadlen as the aforementioned Horace Vandergelder perfectly embraces the time period as the blustering, and frequently flustered half-millionaire. Part Al Lewis, part Jimmy Durante, part Burgess Meredith, Stadlen is indeed the perfect match and compliment to Buckley’s Levi.

In addition to meddling in Horace’s love life, Dolly’s also matchmaking for Horace’s niece, Ermengarde and her suitor, Ambrose Kemper. Morgan Kinkier and Colin LeMoine are perfectly sweet in these roles.

Then there’s the two young gentlemen who work for Horace, Cornelius Hackl and Barnaby Tucker (Nic Rouleau and Sean Burns), who decide to follow Dolly and Horace on an adventure to New York City with the simple goal of kissing young ladies while in the big city. Dolly and the young Yonkers residents are all showcased in one of Act 1’s most gorgeous numbers, Put on Your Sunday Clothes, one of my many personal favorite tunes in the show. During this number, its more than evident why scene and costume designer Santo Loquasto won one of the revival’s four Tony Awards, as the costumes are absolutely stunning.

Once the action moves to New York, we are introduced to two young ladies who work at a hat shop, Irene Molloy and Minnie Fay (Analisa Leaming and Kristen Hahn). It should be noted that Leaming is a Tennessee native who grew up attending shows at TPAC, making this week’s engagement a homecoming for her as well as the show itself. Leaming is the perfect combination of charm and burgeoning independence, a true representation of women of her time. Leaming is a joy to watch throughout the entire piece, but it’s her Act 1 solo, Ribbons Down My Back that provides her shining moment. Having been a quarter of a century since seeing the show, I myself had actually forgotten the significance of the number, at its meaning. While it may seem antiquated and un-pc by today’s Gen Z’ers, for the time it reflects, it was indeed quite the statement of self-assurance.

Meanwhile, Hahn shines as millinery shop assistant, Minnie Fay. Because I’m just an ole softie, I teared up during her entrance as I was reminded of the recently deceased Georgia Engel, who prior to playing Georgette on The Mary Tyler Moore Show, had made her Broadway debut taking over the role of Minnie during the show’s original run, but I digress. As for Hahn’s Minnie, she’s sheepishly sweet. The subtle physicality of the excitement shared between her and her would be suitor, Barnaby is perfection.

The sets…they too are magnificent, especially the trolly and train. You gotta love an audible gasp when these two items are first seen. While many current Broadway shows opt for more technically advanced options for sets, utilizing realistic projected images, rather than physical sets, the structures featured in Hello Dolly harken back, not only to when the show debuted mid-century, but to the time period of the pice and the world of vaudeville. I especially noted the vaudevillian feel of the show in the painted scrims that serve as backdrops throughout the show.

As Act 1 winds down, the audience is treated to Dancing, a nearly all-in, all-out choreo number that builds the anticipation of the inevitable pairings.

Then it’s time for Before the Parade Passes By, aside from the title tune, it’s this one that’s likely most known. Buckley embraces every word, delivering a message of encouragement to everyone listening to make the most of every situation and enjoy life. Yes, I shed more tears, wiping them away quickly before the curtain fell and the houselights rose on intermission.

Truth be told, Act 2 begins with what I consider the weakest number, Penny in My Pocket, but with Stadlen performing it as what is essentially a one man solo vaudeville number directly addressing the audience, it works.

Watching The Waiter’s Gallop, it suddenly dawned on me that someone at Disney surely must be a fan of Hello Dolly as both Beaty and The Beasts’ Be Our Guest and The Little Mermaid’s Les Poisson contain elements present in this joy-filled number.

The the moment comes. Dolly enters the Harmonia Gardens Restaurant by descending the staircase in the show’s literal show-stopping moment dressed in that emblematic red gown and matching feather headdress. Yes, you guessed it! Tears streamed down my face as Buckley cascaded down the stairs. I have truly never been happier to be where I was when I was than in that moment.

That statement makes a nice segue to another magical musical moment, It Only Takes a Moment, in which Cornelius and Irene finally succumb to their amorous feelings.

Buckley’s So Long Dearie bid adieu, but only temporarily as she inevitably reconnect with Vandergelder, and with that long-awaited sign from her dearly departed, says Hello Dolly once again as she and Horace reunite.

Hello Dolly continues its triumphant return to Nashville with performances through Sunday, May 5. Friday and Saturday evening performances are at 8p.m. with Saturday matinee at 2p.m., Sunday matinee at 1p.m. and a final Sunday performance at 6:30p.m. CLICK HERE for tickets, or call the TPAC Box Office at 615.2.782.4040.

Earlier this week, TPAC announced a special Ticket Lottery available for each performance. During the run, a limited number of tickets will be available during a pre-curtain lottery for a special price of $25/each. Simply head to the Box Office 90 minutes before showtime and enter for your chance to purchase up to two tickets at this special price.

Not in Nashville, but interested in seeing Hello Dolly as the National Tour continues with dates current scheduled through July? CLICK HERE for more information or to purchase tickets.

Following Hello Dolly, TPAC’s Broadway Season continues next with Miss Saigon onstage June 4-9. CLICK HERE for tickets.  You can also discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

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

Musician Ben Folds reunites with Nashville Ballet as ‘The Ben Folds Project’ returns to Music City for three performances April 26-28 at TPAC’s Jackson Hall

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Ben Folds accompanies Nashville Ballet company members as “The Ben Folds Project: Concerto” returns to TPAC’s Jackson Hall this weekend as part of this season’s Modern Masters series. (All photos courtesy Nashville Ballet)

Proving once again that Nashville’s Music City moniker isn’t limited to twangy tunes and honky tonks, Nashville Ballet is presenting their genre-jumping collaboration with musician/singer/songwriter/composer/producer Ben Folds for the triumphant return of Nashville Ballet Artistic Director Paul Vasterling’s The Ben Fold Project: Concerto at TPAC’s Jackson Hall, April 26-28.

Having originally debuted as part of Nashville Ballet’s 2014 season, The Ben Folds Project: Concerto has since enjoyed performances at The Kennedy Center in 2017 and the Chautauqua Institution in 2018. Folds has also performed the music from the concerto with various major symphony orchestras across the country, but the upcoming TPAC dates mark the first time since the collaboration’s 2014 debut that Folds will perform the music alongside the Nashville Symphony while members of Nashville Ballet dance the piece as choreographed by Vasterling.

Nashville Ballet’s Julia Eisen

Concerto for Piano and Orchestra, composed by Folds and commissioned by Nashville Ballet, when released as a sound recording, topped both the Billboard Classical and Classical Crossover charts. The 21-minute, three movement piece will be presented as part of Nashville Ballet’s Modern Masters series, a collection of work highlighting the evolution and wide-ranging scope of the artful dance form.

The Ben Folds Project: Concerto will be followed by a brief 15-minute intermission before the presentation of three additional masterworks. Duo Concertant, Bloom Pas de Deux and The Lottery will also be presented as part of Nashville Ballet’s Modern Masters series each night of the program’s run.

According to information obtained from Nashville Ballet, “The works selected for this series illustrate the ways in which the artform has transformed in the 20th and 21st centuries by showcasing works from neoclassical and contemporary choreographers that have helped to challenge and expand ballet’s boundaries through big ideas and intriguing collaborations.”

Nashville Ballet’s Kayla Rowser

Having made it’s Nashville Ballet debut last December during Paul Vasterling’s 20th Anniversary Nashville Ballet Ball, the central pas of choreographer Annabelle Lopez Ochoa’s Bloom returns to the stage once more.

Details from Nashville Ballet reveal, “The work, set on Ballet Manila, was Lopez Ochoa’s first for an Asian dance company. As a result, Lopez Ochoa uses movements and gestures reflective of Asian culture within the choreography. Inspired by a Balinese ritual, Bloom depicts a floral offering in which the male dancer represents gratitude and the female dancer represents the flower.”  Philip Glass’ score will be performed by the Nashville Symphony as company members perform the piece while wearing costumes originally designed by the choreographer. Interestingly, Lopez Ochoa also designed the original lighting, which is being recreated by Scott Leathers.

Nashville Ballet’s Michael Burfield

Featuring George Balanchine’s original choreography and Igor Stravinsky’s beautiful music as performed for Nashville Ballet’s presentation by pianist Alessandra Volpi and violinist Christina McGann and staged by Balanchine Ballet Mistress, Victoria Simon, Duo Concertant presents the piece in such a way that the audience will no doubt immediately become immersed. In the first of the work’s five movements, dancers gather ‘round to listen to the musicians. During the next three movements, the dancers begin to feel the music, erupting in an animated dance that celebrates the joy of the music. In the fifth and final movement, the stage darkens with spotlights focusing on two dancers moving to the final notes of the piece in solitary circles of light.

Nashville Ballet’s Jamie Kopit

Even the most casual ballet fan should recognize the iconic names most-associated with Duo Concertant—legendary 19th century classical composer, Stravinsky, and Balanchine, the father of American ballet, 20th century dancer/choreographer. Stravinsky first presented the composition in 1932 when he dedicated the piece to his friend and frequent violin accompanist, Samuel Dushkin. Some forty years later, Balanchine chose to choreograph the piece as a highlight of the 1972 Stravinsky Festival, one year after the famed composer’s death.

Following a second brief intermission, Nashville Ballet will close the program by presenting the Nashville premiere of Val Caniparoli’s The Lottery. Based on Shirley Jackson’s 1948 short story, The Lottery, in its original form is the stuff thought-provoking nightmares and required book reports are made of. Choreographer Caniparoli returns the audience to the familiar, yet hauntingly thrilling story of a unjust society as townsfolk prepare for an annual mandatory lottery. Unlike most lotteries, this prize isn’t highly sought-after, for the drawing will seal one person’s fate as their life will be sacrificed for the good of the community. In a creative twist, during each night’s performance, an actual live drawing will take place, determining which company member will be chosen for the ballet’s final solo, promising that no two performances will be the same.

The Ben Folds Project, part of Nashville Ballet’s Modern Masters series, will be presented at TPAC’s Jackson Hall Friday and Saturday, April 26 & 27 at 7:30 p.m. and Sunday, April 28 at 2 p.m. Tickets to Ben Folds with Nashville Ballet featuring Concerto, Duo Concertant, Bloom Pas de Deux and The Lottery range in price from $40-$98. To purchase tickets, visit TPAC’s Box Office (505 Deaderick Street), or call the Box Office at 615.782.4040 or CLICK HERE.

Next up for Nashville Ballet, on Saturday, May 4, at 10 a.m., based on Laurence Anholt’s children’s book of the same name, members of the company will present a special FREE performance of Degas and the Little Dancer at the Williamson County Library (1314 Columbia Ave, Franklin, TN 37064).

Then, May 31-June 3, Nashville Ballet will dance to my absolute favorite classical piece, Carl Orff’s Carmina Burana on stage at Nashville’s glorious Schermerhorn Symphony Center. CLICK HERE for details and for the ballet’s full calendar of events. You can also follow Nashville Ballet on Facebook, Instagram and Twitter.

If you’ve enjoyed this preview of Nashville Ballet’s The Ben Folds Project, or if you’re 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.

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Rapid Fire Q&A with director and cast of Expression City’s ‘Matilda’; regional premiere March 29 & 30

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It’s been three years since Nashville theatre audiences had the opportunity to see Matilda: The Musical when the National Tour came through Music City. Thanks to Curtis Reed and the team at Expression City, all that’s about to change this weekend as Bradley Moore directs the regional theatrical premiere of the beloved Roald Dahl story of a precocious young girl with a penchant for elaborate stories and a touch of telekinesis; at Expression City’s gorgeous new Roy E. Barberi Theatre (1724b Gen George Patton Drive Brentwood, TN) for three shows only, Friday and Saturday, March 29 and 30. Matilda stars Audrey Rowels in the title role and features a mix of professional actors, adults and student performers. As the cast prepared for Opening Night, I recently chatted with director, Moore and a few members of his cast, including Reed, who’s playing Agatha Trunchbull; Elizabeth Turner, cast as Mrs. Wormwood; John Mauldin, appearing as Mr. Wormwood, for the latest in my recurring interview feature, Rapid Fire Q&A.

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RAPID FIRE WITH MATILDA’S CURTIS REED

JHP: In addition to being the company’s Musical Theatre Program Director, you’re also choreographing and appearing in Matilda as Agatha Trunchbull. What can you tell me about Agatha?

CURTIS REED: Yes, I have been with the company since its start and have helped build their musical theatre program into what it is today. I have a secret love for playing the villain. It’s always a bigger stretch, and with this particular character having so much comedy built in, it has been a dream come true. I may not be 6 feet tall or taller like those who played her on Broadway, but I have a very large personality that i think makes up for what I lack in stature. 

JHP: Aside from the National Tour that played TPAC a few years back, this marks the regional theatrical debut of Matilda. How did mounting it at Expression City come about?

CURTIS REED: Allison Barberi, the owner and founder of Expression City and I have talked about it for a while now and we both said, the second it becomes available let’s apply. We were fortunate enough to be able to stage the first premiere of the show here in Nashville and that is huge for us! Especially is a growing company only 3 years old.

JHP: What is it about Matilda that makes it a perfect fit for Expression City’s current season?

CURTIS REED: These kids that are part of our program are crazy talented. We have a lot of girls and a good handful of boys. We knew this would be the next challenge that they could definitely take on. With close to 20 kids having to learn British accents and pull them off—along with a style of choreography they aren’t used to and a story that is a bit darker in nature,—they have all risen to the expectation. 

JHP: You’ve worked alongside Bradley Moore in a number of shows over the years, but this is his first time directing for Expression City. What’s been the best aspect of having him direct this show?

CURTIS REED: Not only is he a dear friend, he is a respected and admired colleague. I was so happy that I could bring him in and we could finally collaborate on a show on the same side of the table. The kids love him and we have a stellar adult cast as well. We are so looking forward to sharing this project with Nashville. Bradley’s direction keeps it fresh and constantly moving. This show is a beast!

RAPID FIRE WITH MATILDA’S BRADLEY MOORE

JHP: When I chatted with Curtis, I asked him about working with you as a director, so I’ll start by asking you about directing Curtis. How has it been working with him and the rest of the cast of Matilda?

BRADLEY MOORE: This is actually the fourth show that I have directed Curtis in and I am always so lucky to have that opportunity. He is always a team player and one of the most talented, committed performers I know. The difference on this show was that he was not only playing one of the main characters, but also the Choreographer & Music Director. So we finally had the opportunity to collaborate on all things creative. That was a gift! We have been close friends for years and always talked about working together in different capacities and it finally happened! We were both clamoring to do Matilda so this was definitely kismet. And the cast is incredible. Such a ridiculously talented group of kids and professional actors. And I get to work with Cecilia Lighthall as my Stage Manager! I could not have asked for a better situation to present this Tennessee Premiere!

JHP: This is your first time directing a show at Expression City. What was behind your decision to join the team in this capacity?

BRADLEY MOORE: The short answer: Curtis. For the past year, he had been very adamant about bringing me into the Expression City family. And for that, I am super grateful. Friends who go to bat for you and try to help you achieve your dreams are extremely rare. Then back in December, he had cast me in Newsies at Expression City, which was my first experience with the studio. I loved every minute. The kid’s passion and energy is infectious. The environment at Expression City is very positive, encouraging, and warm. I couldn’t think of a better place to create art.

JHP: What do you hope audiences come away feeling after experiencing Matilda?

BRADLEY MOORE: Matilda is one of those shows that has all the feels; It’s hilarious, heartwarming, heartbreaking, sad, scary, and a million other emotions. I think that each audience member will take something different away from the show. As long as they leave with a smile and maybe a tear in their eye, then we have definitely done our job as artists.

JHP: I understand your cast includes 18 student performers. What’s the most exciting aspect of directing theatre kids?

BRADLEY MOORE: Remembering that I was them. I think back to when I was their age and realize how much I learned from my directors and the seasoned actors I was lucky enough to work with. To possibly be that person in these kids’ lives is a powerful thing. Kids are sponges and they are so eager to learn and better their craft. And I keep saying kids, but these “young actors” are a level of professional that I don’t even think I was at their age. The whole experience has been beyond rewarding for me. 

RAPID FIRE WITH MATILDA’S ELIZABETH TURNER

JHP: You play Mrs. Wormwood. What’s your favorite thing about her?

ELIZABETH TURNER: Boy, I wish I had one ounce of her self-confidence! She literally dances like EVERYONE’S watching. 

JHP: This is your first time being in a show at Expression City. Are you having fun?

ELIZABETH TURNER: I am having a great time!  I was on a bit of a self-imposed theatre sabbatical after having my daughter Eleanor in 2017, and I am really happy this was the show that got me out of my “mom cave.” The cast is extraordinary with great chemistry. And of course, I always enjoy working with Bradley.

JHP: As Matilda’s mother, you share scenes with both Audrey Rowles, who’s playing Matilda, Braden Wahl, who plays Matilda’s brother, Michael and John Mauldin, who’s playing your on-stage husband, Mr. Wormwood. What’s it been like being part of this particular family?

ELIZABETH TURNER: Oh, you know, we’re just your typical Norman Rockwell family, with a hint of John Waters mixed in for variety!  Audrey is such a sweet, talented, and grounded young actor. She carries the lion’s share of the show’s lines and songs, and I’m so impressed with her abilities. Braden and I graduated from the same theatre program at Tennessee Tech a few years apart from one another, so it’s been a lot of fun talking about productions and mutual friends back in Cookeville. 

John has been an absolute pleasure to work with. He’s such a nice guy that it’s tricky to constantly be yelling in his face and slapping him around onstage.

JHP: A big theme behind Matilda seems to be marching to your own drum, changing your own story. I understand you have a young daughter yourself. While she’s still a toddler, have you given any thoughts of how you’ll instill that attitude in her?

ELIZABETH TURNER: Great question!  My husband (Toby Turner) and I have had many talks about what we think Eleanor will be like when she’s older. I often joke that, it’d be just our luck that the two actor parents would have a child who is only interested in sports. But, of course, we will support her interests whatever they may be, and in the end, what really matters to us is that she’s happy with who she is, both inside and out, and that she is not afraid of being her 100% authentic self. To quote Kacey Musgraves, “just follow your arrow wherever it points!”

RAPID FIRE WITH MATILDA’S JOHN MAULDIN

JHP: What can you tell me about Mr. Wormwood?

JOHN MAULDIN: He is probably an example of one of the worst parents in the world in the sense that he is not compassionate to his youngest child, Matilda, who he wished was a boy.  He is a used car salesman who has grand schemes that aren’t fully thought out which have disastrous results for the family.  Ironically, his blunderings lead to one of the most heartwarming stories in Matilda.

JHP: Matilda tells the story of a precocious 5-year old who takes refuge among the library. As a kid, what was your escape?

JOHN MAULDIN:  My imagination was my escape. I would create narratives for my G.I. Joes; ya know secret rescue missions and what not.

JHP: For this who may not be familiar with the story, Mr. Wormwood is Matilda’s father. Audrey Rowles is playing the title role. What can you tell me about your young co-star?

JOHN MAULDIN: She is an amazing kid with oodles of talent. The audience is going to love her. She has been a real treat to work with.

JHP: This is your second show with Expression City, having appeared in their recent Newsies production. What’s the most gratifying aspect of working with a theatre company focused on younger actors and audiences?

JOHN MAULDIN: It is a joy to work with these kids.  Their commitment to honing their craft is inspiring.  The performance level these kids reach is a testament to the training they receive at Expression City.  I am pleased that I may have a small part in mentoring tomorrow’s theatre artists.  It is so rewarding to be a part of the process.

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Expression City’s Matilda plays the Roy E. Barberi Theatre for  only three shows, opening Friday, March 29 at 7:00p.m. then continuing Saturday, March 30 with a 2p.m. matinee and a final performance Saturday night at 7 p.m. At the time of this article, a very limited number of tickets remained, but you can always hope for a Miracle or get a little Naughty and CLICK HERE to purchase tickets. Next up for Expression City, the company will present a Music Recital on May 11, then Thoroughly Modern Millie, Junior performances May 31-June 1, followed by a Mary Poppins Theatre Camp and performance in July. To learn more about Expression City’s Programs, Classes and more, CLICK HERE. You can also find them on Facebook, Twitter and Instagram.

If you’ve enjoyed this Rapid Fire, CLICK HERE to check out previous conversations with the who’s who of Nashville’s theatre scene.

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.

Rapid Fire 20 Q with cast of Nashville Rep’s ‘Shakespeare in Love’ onstage at TPAC’s Johnson Theatre thru April 13

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Directed by René Copeland, Shakespeare in Love is making its Nashville stage debut as Nashville Repertory Theatre’s current offering. Adapted for the stage by Lee Hall and based on the screenplay by Tom Stoppard and Marc Norman, it’s been 20 years since the Gwyneth Paltrow/Joseph Fiennes/Geoffrey Rush film premiere. I remember enjoying the movie, but considering the time that has passed since I’ve seen it and the fact that I’ve never seen the stage version…full confession: I had no idea it even existed…I had to get the low-down on. When I found out one of my absolute “theatre crushes”, Jennifer Whitcomb-Oliva was cast as Queen Elizabeth 1 for The Rep’s mounting, alongside Rep newcomers Joe Leitess as Will Shakespeare, Cailen Fu as Viola and Sewanee professor, James Crawford as Henslowe, as well as local theatre favorite, David Wilkerson, who’s not only cast as Tilney, but also serving as the show’s fight choreographer, I knew this group would result in a fun-filled Rapid Fire 20 Q, and by Bard, I was right.

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RAPID FIRE WITH SHAKESPEARE IN LOVE’S JENNIFER WHITCOMB-OLIVA

JHP: You’re playing Queen Elizabeth 1, so tell me…is it really true what they say? IS it good to be the Queen?

JENNIFER WHITCOMB-OLIVA: It’s soooo good! Big dresses, royal treatment, bowing, parties! Queen Elizabeth was quite the woman. She’s a total rockstar! I’m really enjoying portraying her.

JHP: From what I know, this is your sixth time to appear onstage at Nashville Rep. What keeps you coming back?

JENNIFER WHITCOMB-OLIVA: Nashville Rep continues to bring in theatrical gems. The plays are always so engaging, and full of wonderful surprises. I am so challenged each time from production to production. I am grateful for each opportunity I get, to play something meaningful and outside of the box. I strive to play roles and characters that are beyond the norm.

JHP: Alright, you’ve already mentioned the big dresses…I LOVE the publicity photo of you all done up in QE1 drag. What can you tell me about the gorgeous wigs and the costumes designed by Lori Gann-Smith for Shakespeare in Love?

JENNIFER WHITCOMB-OLIVA: I can tell you to brace yourself! Queen Elizabeth was not one to do casual. These costumes are absolutely gorgeous! They are big, colorful, decadent and exquisitely made. If you don’t ooo and aah, I don’t know how to help you. Also…being a redhead is fun!

JHP: With themes of love, marriage, equality, gender and even the creative life, Shakespeare in Love and Shakespeare’s own writings are just as vital now as when audiences were first exposed to them. Among the themes, which do you think rings most true, in relation to this work?

JENNIFER WHITCOMB-OLIVA: The creative life for sure. This play is truly about the life of the man. It’s about the actors and the world they live in. It’s such a lovely view into the fantastical world of theatre, and why we all fall in love with it over and over again.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S CAILEN FU

JHP: In Shakespeare’s time, it wasn’t unusual for male actors to portray female roles. In a bit of a gender flip, as Viola de Lesseps, you spend part of your time on stage in disguise in male drag. While there’s a large element of comedy, in that the audience is in on the gag, how did you prepare for the duality of the role(s)?

CAILEN FU: My approach to Viola’s disguise is completely based on her idea of what it means to “be an actor.” In Shakespeare’s time, like you said, only men could be actors, so I tried to draw from the men who she would have been influenced or surrounded by for most of her life. This meant looking to her father, the men she met at court and mostly, the actors she saw on stage. While technically she IS going into male drag, I’m making the effort to go more in the direction that she is completely the same person, but she’s just seeing the world and it’s circumstances through a different pair of eyes.

JHP: Speaking of research, have you ever been to Play Dance Bar on a Thursday night for their Drag Kings show? If not, do you think that might be the perfect cast outing?

CAILEN FU: I have not but I think we’d all have a bunch of fun!

JHP: I understand this marks your Nashville Rep debut. What’s the experience been like so far?

CAILEN FU: Yes, this is my Nashville debut! I am having a blast. The entire company of Shakespeare in Love has been so welcoming and lovely. I am loving my time here!

JHP: Shakespeare in Love is of course filled with nods to Romeo and Juliet, as well as many of The Bard’s other works. Do you have a favorite reference included in the play?

CAILEN FU: Oh my, there are so many references! I don’t think I have favorite but I really love how each reference is cleverly woven into the script.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S JOE LEITESS

JHP: You’re playing Shakespeare opposite Cailen’s Viola. What’s the best aspect of having her as your leading lady?

JOE LEITESS: It’s hard to pick just one thing! I admire her ability to jump right into the work. In an abbreviated rehearsal process it can be daunting to tackle these huge scenes about love, loss, and grief- especially with someone you just met. Cailen’s bravery makes that work much easier and more rewarding.

JHP: When I spoke with Cailen, I mentioned her gender flip. Not to give too much away, but you also have a brief moment playing the opposite sex in Shakespeare in Love. What’s something about playing a woman, albeit, mostly for laughs, that you didn’t anticipate?

JOE LEITESS: I was surprised by the physical effect that clothing has- especially with Elizabethan costumes. Dresses, headwear, and footwear change the way you stand, breathe, speak, and relate to other people in space. Doubly so if you’re wearing a corset or something that restricts range of movement. My cast mates sing, play instruments, and dance their way through this play so gracefully while being cinched in- it’s very impressive. I was relieved to learn my brief gender-flip scene doesn’t include a corset.

JHP: Like Cailen, this show marks your Nashville Rep debut. Are you enjoying it so far?

JOE LEITESS: I love it. Our director René Copeland, the cast, crew, and design team are delightful people who do beautiful work.

JHP: I also asked Cailen about the many references and winks to multiple Shakespeare plays within the dialogue and subplots of Shakespeare In Love, so I’ll ask you as well. What’s one nod to The Bard within this work that makes you smile every time it’s uttered?

JOE LEITESS:

Will: This is a dream.

Viola: Dreams are the children of an idle brain, begotten of vain fantasy which is as thin of substance as the air.

Will: …Did you really just say that?

 Of all the references and winks in the show, this one really feels like Will is stealing quotes from the people around him-a good trick for an aspiring writer. I imagine him going home and feverishly rewriting conversations from memory, trying to capture on the page what people say off the cuff.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S JAMES CRAWFORD

JHP: I understand you teach in the department of theatre and dance at Sewanee. How did being part of Nashville Rep’s Shakespeare in Love come about?

JAMES CRAWFORD: I just showed up at the Nashville Rep auditions last year, and I’m so happy that I’m getting to make my Nashville debut in Shakespeare in Love. I feel really lucky. Continuing to act makes me a better teacher, and teaching has made me a better actor.

JHP: Aside from the written word, I understand music plays a part in conveying the spirit of this play. What can you tell me about the inclusion of music in Shakespeare in Love?

JAMES CRAWFORD: Considering this play is not technically a musical, there’s a tremendous amount of live music in it, and it’s beautiful. The cast has over twenty people in it, and it turns out that a few of the actors are also amazingly talented musicians, each of whom plays several instruments. They create a really magical world that the rest of us get to play in.

JHP: You’re playing Philip Henslowe, the owner of The Rose Theatre, a character based in reality, as Henslowe’s The Rose was indeed the first public theatre to stage Shakespeare’s plays. Does portraying a historical figure affect the way you approach the character?

JAMES CRAWFORD: Because Henslowe’s a real person, I did do some research about him. He left a diary that’s very important to people who study theatre history.  It’s full of facts about how much money he spent and how much money he earned, and all kinds of details about what it was like producing plays four hundred years ago. But there’s not a lot of personal information in the diary. Some historians think he was a very generous man, lending his actors money when they needed it, and others think he was more of a ruthless landlord. My job is to honor the version of Henslowe that the writers of Shakespeare in Love imagined.  And, lucky for me, he’s a very funny, delightful character.

JHP: You’re part of a fantastically talented cast, among them, Joel Diggs as Kit Marlowe, fresh off his incredible turn in Nashville Rep’s Topdog/Underdog. What can you tell me about sharing the stage with Joel and this company?

JAMES CRAWFORD: I got to see Joel in Topdog/Underdog the week before we started rehearsing together. It’s always thrilling to see someone make a wonderful leap like that, jumping from playing a bitter three card monte hustler to a wise Elizabethan playwright. As a newcomer to the Nashville theatre scene, I had a memorable experience on the first day of rehearsal. We read the play aloud, and I got to listen to all of these actors, most of whom I’d barely met. It was wonderful, discovering how many exceptionally talented actors are in this cast.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S DAVID WILKERSON

JHP: You’re playing Edmund Tilney, Master of the Revels. Am I dumbing it down to much to say he was the OG party planner?

DAVID WILKERSON: I guess you could say that. Although in the play, he’s a party planner who hates parties then, he’s the person in control of theatre in London and he HATES theatre and actors.

JHP: IF there’s a villain to this piece, you could say TIlney is it, for….SPOILER ALERT…he’s the one who finds out Viola is performing on stage in male drag. What’s the best part of playing Tilney?

DAVID WILKERSON: I always love playing characters who ask for big choices. Tilney is so stuffy and condescending and fun to play!

JHP: In addition to portraying Tilney, you’re also working behind the scenes as the show’s fight choreographer. How much rehearsal goes into fight choreography for a show like this?

DAVID WILKERSON: There is a LOT of fighting in this show. Not counting the slaps and face burnings and wrestling and all that, there are three sword fights. And they are completely different. One is a rehearsal fight, one is a bunch of actors playing, and one is a real life-and-death fight. And they all need to feel different. So we started day one. When you only have two and a half weeks before tech, you have to make the most of every moment.

JHP: Having the unique opportunity of working with the show’s director, René Copeland both on stage as an actor and behind the scenes as fight choreographer, what do you hope audiences take away with them after seeing The Rep’s Shakespeare in Love?

DAVID WILKERSON: Shakespeare in Love is joyous. I hope people come to laugh and cry and along the way realize that art and artists hold an important role in society.

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If you want to experience the joy that is Shakespeare in Love, you have several more chances remaining as performances continue thru Saturday, April 13. Wednesday and Thursday performances at 6:30p.m., Friday evenings at 7:30p.m. and Saturday matinee and evening performances at 2:30p.m. and 7:30p.m. CLICK HERE to purchase tickets or CLICK HERE for more information. Next week, on Thursday, April 4, Nashville Repertory Theatre will announce the coming 2019-2020 season at their 35th Season Reveal Party. Following Shakespeare in Love’s run, The Rep will host the company’s 4th Annual Broadway Brunch fundraising gala at City Winery on May 5. CLICK HERE for tickets.

To keep up with the latest from Nashville Rep, CLICK HERE, or follow them on Facebook, Instagram and Twitter.

If you’ve enjoyed this Rapid Fire, CLICK HERE to check out previous conversations with the who’s who of Nashville’s theatre scene.

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.

RAPID FIRE 20 Q with playwright and cast of ‘Stop Me If You’ve Heard This One’; limited engagement Backstage at Chaffin’s Barn beginning Thursday, March 28

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Having garnered second place in Chaffin’s Barn Dinner Theatre’s second annual Clash of the Playwrights competition, Stop Me If You’ve Heard This One will make its stage debut with a limited three-day engagement Backstage at The Barn beginning with a Thursday matinee March 28 at noon and two evening performances Friday and Saturday, March 29 and 30.

Written by Vanderbilt English Professor, Judy Klass, Stop Me If You’ve Heard This One tells the story of what happens when a nice Jewish man gets an emergency call from his retired parents in Florida urging him to come visit. Under the impression his trip is because of his father’s medical emergency, he soon discovers the family is plotting to fix him up with his niece’s nanny.

Earlier this week, as the playwright and cast prepared for their opening performance, I had the opportunity to chat with them about the play, family, dating and all things Stop Me If You’ve Heard This One for my latest Rapid Fire 20 Q.

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RAPID FIRE WITH STOP ME IF YOU’VE HEARD THIS ONE PLAYWRIGHT, JUDY KLASS

JHP: What’s your play about?

JUDY KLASS: It’s about a family. It’s about how people you love drive you crazy, and it’s still worth putting up with it, and working through problems, because your time with them is precious. And it’s about how jokes, no matter how long and shaggy they are, can be a means of communication between people.

JHP: Your play is being presented this weekend Backstage at The Barn after having come in second at Chaffin’s playwright competition. How excited were you to learn your play had taken that prize?

JUDY KLASS: I was very excited. The play won the Dorothy Silver Award some years back, but it was never fully staged. Other plays of mine have gone up elsewhere, but I’ve never had a full-length play produced in Nashville before, though I’ve lived here thirteen years. So, to have this play produced at last, and to have that kind of recognition in the place where I live, is a wonderful thing. I’m happy that people I know here are coming to see it.

JHP: It’s often said that playwrights and fiction writers in general, draw inspiration from what they know…are these characters based on your own family, friends or acquaintances? If so…do they know?

JUDY KLASS: Yes, this play draws on aspects of my own family. My father, close to twenty years ago, told me a joke over the phone. I said: “That actually would work as the first scene of a play.” I got off the phone and imagined dramatizing the joke as a scene. It’s an old Jewish joke, and I imagined writing a comedy where characters would tell each other jokes, many of them old Jewish jokes, and that dramatized-joke-scene would kick things off. I figured I’d ask my father to write the play with me, or at least contribute the jokes I’d need along the way. Then, my father, Morton Klass, suddenly died in the spring of 2001. And I figured: that’s it, I can’t write that play. Forget the whole thing. Some months or a year later, I reconsidered. I felt that I should write the play, and quickly, while I still had so many jokes my father had told me in my head, and I could still hear his inflections — his way of telling them. So, that’s what I did, and in a sense, it’s still the kind of collaboration I hoped to have with him. And I tried to capture things that I liked about my family when I was growing up. It’s got a bit of the flavor of our household when people gathered for a holiday — a bit of us in our element, as a family. Some family members attended a reading of it in NYC.

JHP: I understand you visited Backstage at The Barn during rehearsal. Can you describe the feeling of seeing your characters in the flesh?

JUDY KLASS: It was wonderful to sit in on a rehearsal. Joy Tilley Perryman is doing a terrific job as director, and the whole cast is top-notch — it’s a professional production. The play has had five more or less staged readings — one at the Cleveland Playhouse when it won the Dorothy Silver Award, the reading in NYC, two in Florida and one in San Diego. But it was exciting to see actors really learning their parts, off book, with blocking, and to see this play receiving the care that goes into a full production, with actors playing moments again and again to get the humor and the serious aspects right. I feel very good about it going up at Chaffin’s Barn.

RAPID FIRE WITH STOP ME IF YOU’VE HEARD THIS ONE’s  AUSTIN OLIVE

JHP: You play Alan. How would you describe him?

AUSTIN OLIVE: Alan is definitely high strung. I think deep down he has a good heart. He just spends most of his time wrapped up in his own life and pursuits. He spends a lot of his time worrying about other people’s perception of him. He has found success in New York as a writer, but there is still a void in his life that leaves him deeply unhappy. He does love his family, but those feelings often manifest as sarcasm and combativeness.

JHP: A subplot of the show revolves around Alan being set up with a girl he doesn’t know. Have you ever been set up on a date?

AUSTIN OLIVE: Fortunately, I have managed to avoid being set up on a blind date with anyone so far. I tend to not like the feeling of not knowing or having control of my circumstances. I would like to keep my dating experience confined to people I have had the chance to meet and decide for myself whether or not I like them.

JHP: Speaking of your unexpected date…Cassie Donnegan is cast as Lisa, the aforementioned set up, who also happens to be your character’s nieces’ au pair. What’s Cassie like as a scene partner?

AUSTIN OLIVE: Cassie is a wonderful scene partner. We have done several shows together in the past couple of years. I always enjoy working with Cassie. It always helps to work with someone who you know well. There is a certain level of comfort that allows us to joke around and have fun while we’re working.

JHP: I understand Daniel Bissell and LaDarra Jackel are playing Alan’s somewhat stereotypical Jewish parents. What would be the best thing about having those two as parents in real life?

AUSTIN OLIVE: LaDarra and Daniel are two of the funniest people I know. I absolutely love working with them. They are certainly not old enough to be my parents in real life, but if they were, the best thing about having them as parents would be the warmth and support they both give to everyone. They are two of the most genuinely delightful people I have had the opportunity to work with.

RAPID FIRE WITH STOP ME IF YOU’VE HEARD THIS ONE’s LaDARRA JACKEL

JHP: Tell me about Ida.

LaDARRA JACKEL: She is loving, opinionated, and has a passion for life. Family is the most important thing to her and she is at her happiest when everyone is together.

JHP: One of the early plot points has Alan basically being tricked by his father to travel from New York to Florida. What’s the craziest thing family has ever convinced you to do?

LaDARRA JACKEL: I have some family that lives in Texas. When they moved into their house my Uncle asked us to come visit for our vacation. When we got there he put us to work and had us laying the sod in his yard. It was so hot that summer and we all still complain about it to this day.

JHP: Joy Tilley-Perryman is directing this show. What’s it like working with her as a director?

LaDARRA JACKEL: Joy is wonderful! She really has an eye for comedy and encouraged us to become a family unit organically.  I also appreciate that she is always respectful of our time and keeps us laughing daily.

JHP: Young Kylan Ritchie plays Ida’s granddaughter, Sandra. Knowing most of the cast myself, I’m just gonna ask…Have you guys warped her young innocent mind yet?

LaDARRA JACKEL: I hope not! Let’s be real though. She’s a teenager in a social media world. She has probably seen or heard worse.

RAPID FIRE WITH STOP ME IF YOU’VE HEARD THIS ONE’s, JENNY NORRIS

JHP: Who is Abbie?

JENNY NORRIS: Abbie is the daughter of Ida and Murray. She is opinionated and intelligent, but also kind hearted and family oriented. 

JHP: With this being the first full staging of the show. How much fun are you having creating this character?

JENNY NORRIS: Creating a character so the audience will say “ I know that person” is my favorite part of doing any show. So having the opportunity to do that with a brand new character is the most fulfilling creating process.   

JHP: When I chatted with Judy, the playwright, I asked her about dropping in on a rehearsal. What was it like having the person who wrote the lines you’re performing there during that stage of the production?

JENNY NORRIS: Ha! Well I could lie and say its no sweat but… 

JHP: What is it that keeps you coming back to The Barn show after show?

JENNY NORRIS: Well it helps that they keep offering. But, seriously, they believe in me and trust me and that means everything to me as an actor. Plus they are truly my family. Whether I’m in the show, waiting tables, or doing sales for the barn, coming to work is a joy bc I’m surrounded by people I love to be around and inspire me daily. Norma, Martha, Joy, Everett, Curtis, Miriam, Donnie*, the entire cast of this show, and so many others I’ve had the honor of being in- they are the smartest, funniest, most talented, kindest people I know, so surrounding myself with them is my privilege. 

*to expand upon Jenny’s response, Norma Luther is Chaffin’s current owner; Martha Wilkinson, the company’s Artistic Director; Joy Tilley Perryman, production manager, props mistress and this show’s director; Everett Tarlton, Chaffin’s social media coordinator, as well as frequent actor/director/choreographer; Curtis LeMoine, frequent Chaffin’s actors/choreographer; Miriam Creighton, the company’s costumer and Donnie Hall, Chaffin’s Director of Operations.

RAPID FIRE WITH STOP ME IF YOU’VE HEARD THIS ONE’s J. ROBERT LINDSEY

JHP: You’re cast as Howard. What’s the best way to describe him?

J. ROBERT LINDSEY: Howard is the son-in-law of this very close-knit family.  He is a bit dorky, but also very warm.  I’ve based my portrayal of him on my experiences of meeting past boyfriends’ families.  While Howard has had several years to get to know his wife’s parents and brother, there is still that bit of awkwardness and disconnectedness that comes along with not being on the “inside” of the family.

JHP: While this show has had a couple of staged readings, this marks its first full staging. What’s it like bringing a show to the stage for the first time?

J. ROBERT LINDSEY: I always enjoy originating a character and being part of the development of a piece.  It gives you freedom to create the character without a previous portrayal from which to draw.  While I enjoy playing iconic characters as well, there is often pressure to pay homage to prior performances.  With an original show, you get to be much freer during the whole process.

JHP: Within the show, you’re married to Jenny’s character, Abbie. Jenny is one of my ‘theatre crushes’. What’s something about Jenny as an actor that your admire?

J. ROBERT LINDSEY: Jenny has become one of my “theatre crushes” as well!  I have thoroughly enjoyed playing her stage husband.  One of the things I admire about Jenny is her ability to completely transform into the character she is portraying.  Not only does that make her performance authentic, she is also able to build extremely believable on-stage relationships with the other characters.  I also love that we try to make each other laugh with our husband and wife ad libs.

JHP: If there’s a lesson to be learned from Stop Me If You’ve Heard This One, what would it be?

J. ROBERT LINDSEY: The lesson in this show is that you’ve got to be yourself – no matter what.  There is also a message of accepting and loving others for who they are – no matter what.  At the heart of this play is a family that really loves each other, and that has been something really fun to portray.

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Austin Olive (foreground) receives a phone call from parents LaDarra Jackel and J. Robert Lindsey (background left to right) in playwright Judy Klass’ ‘Stop Me If You’ve Heard This One’, Backstage at The Barn Thursday, March 28-Saturday, March 30.

As I prepared to post this Rapid Fire 20 Q, I learned that both Friday and Saturday evening’s performances have SOLD OUT! There are a selection of tickets available for Thursday’s matinee. Backstage at the Barn offers two ticket options. Show Only tickets are $19 while their Show and Box Lunch option is $27.50. If you are looking for some midday laughs, get your weekend started early and CLICK HERE or call 615.646.9977 to purchase tickets.

Following this premiere production of Stop Me If You’ve Heard This One, Chaffin’s will be bringing back last year’s Clash of the Playwrights winner, Ollie’s Diner by Ron Osbourne. Having initially had its limited debut run Backstage at the Barn, when the show returns for a full run this season from October 17 to November 2, it will be presented on Chaffin’s Main Stage. Call 615.646.9977 for tickets or more information.

To learn more about Stop Me if You’ve Heard This One playwright, Judy Klass, CLICK HERE. For more about Chaffin’s Barn Dinner Theatre, CLICK HERE or follow them on Facebook, Instagram and Twitter.

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

Breaking News: Ahead of this year’s upcoming Broadway season announcement event, TPAC releases ‘Hamilton’ Nashville premiere details

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The wait is finally (almost) over. Details concerning the Broadway smash hit Hamilton and its upcoming Nashville tour dates have been released. By way of a Breaking News press release, comes word that Hamilton will play TPAC’s Jackson Hall December 31-January 19, 2020.

Last April, during the 2018/2019 Broadway Season Announcement Event, TPAC patrons were among the first to learn that the Broadway smash hit, Hamilton would be coming to Nashville. That news was revealed by way of a special video message from former Nashvillian and Belmont University alum Chris Lee, who at the time played Marquis de Lafayette and Thomas Jefferson in both the Chicago and touring productions of Hamilton.

From the creative genius of Lin-Manuel Miranda, Hamilton tells the story of Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington’s right-hand man during the Revolutionary War and was the nation’s first Treasury Secretary—all set to hip-hop, jazz, blues, rap, R&B and traditional Broadway musical styles.

TPAC.org is the only official place to purchase tickets, so be sure and CLICK HERE to stay informed about all things Hamilton in Nashville. You can also check them out online on Facebook, Instagram and Twitter.

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

Theatre Review: ‘Anastasia’, a visually stunning, historically based, albeit fictionalized fairytale; at TPAC thru Sunday, March 24

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Anastasia, the musical, is currently on stage at TPAC’s Jackson Hall through Sunday, March 24, as the first National Tour continues. With book by Terrence McNally (known for everything from Frankie and Johnny at the Clair de Lune and Love! Valor! Compassion! to Ragtime, The Full Monty and Chita Rivera: The Dancer’s Life), lyrics by Lynn Ahrens (Lucky Stiff, Seussical, Ragtime, the aforementioned Chita Rivera musical and more) and music by Aherns’ frequent musical theatre partner, Stephen Flaherty, Anastasia premiered on Broadway spring of 2017, with its first national tour having launched October of last year. Interestingly, the show’s Music City performances come just weeks before the original Broadway run is set to close later this month.

Adapted from both the 1956 Cinemascope spectacle starring Ingrid Bergman and Yul Brenner, and Helen Hayes, as well as the 1997 feature of the same name from animation legend, Don Bluth (An American Tale, The Land Before Time, and my personal favorite, The Rescuers–when he was still with the House of Mouse), Anastasia tells the tale of an amnesiac orphaned girl known as Anya, who resembles The Grand Duchess Anastasia, the youngest daughter of Czar Nicholas II. Although Anastasia was thought to have perished alongside the rest of her immediate family during a hostile takeover, rumors–or perhaps simply false hope by their loyal subjects–persisted that the young duchess somehow survived. Those rumors lend themselves perfect to a storyline that seemingly combines elements from Cinderella and My Fair Lady as two con men meet Anya by chance and immediately take note of her resemblance to the presumed dead heir to the royal lineage. They quickly began teaching her how to act like a duchess with a plan to present her to the only surviving member of the royal family, The Dowager Empress, in hopes of earning a reward for her safe return.

From the snowfall of one of the show easiest scenes, the visually stunning piece presents true fairytale moment after moment, courtesy of Alexander Dodge‘s sets, Aaron Rhyne‘s incredibly realistic  projections, Donald Holder’s mood-enhancing lighting design–he inclusion of illuminated streetlamps within the projected images was absolutely mind-blowingly realistic. Simply regal costuming from Linda Cho and wig/hair creations by way of Charles G. LaPointe all add up to a remarkably beautiful show. The majesty of the look of Anastasia truly rivals any show I’ve ever seen.

Completely unfamiliar with the story, having never seen the aforementioned Bergman mid-century drama, nor the Bluth animated entry (I KNOW, I KNOW), I felt at a bit of a disadvantage going into the show, especially when I spotted more than a couple FAnastasias dressed to the nines in their best attempts at recreating Anastasia’s look. From the enthusiastic applause that greeted the rise of the curtain, I knew I was among appreciative fans.

Directed by Darko Tresnjak, Anastasia presents a grand epic of a story that also cleverly contains smaller, more intimate subplots as it invites the audience to journey from the glory of Nicholas II’s palacial House of Romanov to the horrors of the Bolshevik revolution, then the journey continues across the European continent on to the glory of Paris 1920s.

Among the more visually stunning moments, snow falling outside the palace windows and the opulence of the ballroom sequence are absolutely breathtaking. On the other end of the spectrum, when the peacefulness of the snowfall dramatically morphs into sparks of fire during the attack upon the palace, you can’t help but marvel at the creative team’s talent. Then there’s the cleverness of the train trip to Paris. The train car is constructed in such a way that there are no walls or ceiling to it, alowing the audience full access to the action on-stage. Coupled with the projection of the track and the sweeping landscape passing by as the train continues on it’s journey…sheer genius.   

With themes of revolution, rising up and reclaiming one’s lost or forgotten heritage, comparisons to the sweeping epic that is Les Mis are inevitable. Anastasia does have the advantage in the alluded-to spectacular set and projection accomplishments, but the soundtrack is sadly lacking the grandeur of Les Mis.

While a handful of songs: Once Upon a December, A Rumor in St. Petersburg, Learn to Do It, Journey to the Past, Paris Holds the Key and Meant to Be–all originally featured in the musical’s animated counterpart–are in deed audience-pleasing, the majority of the remaining tunes aren’t exactly going to make it onto your playlist after leaving the theatre.

Of the musical highlights, Joy Franz and young Victoria Bingham as The Dowager Empress and Young Anastasia get this off on a high note with the above-referenced show-opening Once Upon A December. It’s such a touching moment and completely serves to set up the relationship between Anastasia and her elder relative, a vital point within the tale’s featured plotline.

Then, when Lila Coogan appears as Anya—the young woman who may or may not be Anastasia—she provides a pleasing performance, especially during her big solo numbers like In My Dreams and the animated film’s FAnastasia favorites.

Another bright, undeniable high point comes in Act Two when Vlad and Lily (one of the conmen and the Dowager Empress’ Lady in Waiting) duet on The Countess and The Common Man. The comedic timing and hilarious physicallity of Tari Kelly as The Countess Lily and Edward Staudenmayer as Vlad during this number evokes memories of Carol Burnett and Harvey Korman during their heyday on The Carol Burnette Show, spoofing many an overly melodramatic film classic. A scene perfectly suited for this show that oftentimes gets a bit bogged down in its own grand airs.

Also worth mentioning are Jason Michael Evans and Stephen Brower as Gleb and Dmitry, two young men, both interested in Anya, but for very different reasons. Every wannabe princess should be so lucky as to have these two handsome, taleneted young men in pursuit.

Also of note, the entire ensemble’s beautiful execution of Peggy Hickey’s magnificent choreography. The previously mentioned ballroom sequence, Act 1’s literally and figuratively hauntingly beautiful ‘ghost’ dance during the Once Upon A December redo featuring Anya and the ensemble, as well as segments featuring traditional Russian dance, and even a snippet of Swan Lake…all performed to perfection.

While Anastasia may lack some of the magic of a certain Mouse’s princess lineup, the sets, costumes and several standout performances are indeed each jewels in the would-be Duchess’ tiara. Anastasia wraps the Music City tour dates with matinee and evening performances Saturday and Sunday, March 23 and 24 with Saturday matinee at 2p.m., Saturday Evening at 8p.m., Sunday matinee at 1p.m. and a final Sunday evening performance at 6:30p.m. CLICK HERE for tickets, or call the TPAC Box Office at 615.2.782.4040.

Not in Nashville, but interested in seeing Anastasia as the National Tour continues with dates current scheduled through August? CLICK HERE for more information or to purchase tickets. You can also follow Anastasia on Facebook, Twitter and Instagram.

Following Anastasia, TPAC’s Broadway Season continues next with a special 10th Anniversary Tour engagement of Rock of Ages for two days (three performances only), Friday, April 12 at 8 p.m. and Saturday, April 13 at 2p.m. and 8 p.m. CLICK HERE for tickets or more information. You can also discover all the latest from TPAC by checking them out online on Facebook, Instagram and Twitter.

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

 

 

Theatre Review: ‘Book of Mormon’ still on a decidedly non-pc mission of inappropriate laughter: National Tour continues at TPAC thru Sunday

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When you think about it, 2011 doesn’t seem like such a long time ago. After all, how different could the world be in just eight years, right? Oh, wait…In that time, we’ve gone from our first black president to, well, the current administration. Some would also argue that we’ve gone from a society of speaking our minds to holding out tongues for fear of upsetting someone’s sensitivities. While kindness and forethought are indeed a good thing, I’m frequently of the opinion that it’s ok to laugh, as long as you’re laughing with, and not completely laughing at. Thankfully, The Book of Mormon—on stage in Nashville at TPAC’s Jackson Hall thru Sunday, March 17—seems to agree as it is just as bawdy, offensive, riotous and, yes, thought-provoking as when it debuted on Broadway some eight years ago.

Nine-time Tony-award winning musical, The Book of Mormon comes courtesy the genius, if not slightly twisted minds of South Park creators Trey Parker and Matt Stone and Robert Lopez (Avenue Q). The Book of Mormon (for those who’ve must have been hiding under golden plates buried on a hill in Manchester, New York) is the tale of a group of young Latter Day Saints missionaries assigned to a small village in Africa plagued by AIDS and a drug lord with a name I can’t bring myself to put into print.

Often described as ungodly, profane, crude…it is certainly all of those things, but at its core, The Book of Mormon is a story about friendship, growth and belief. Belief in the unknown (and let’s face it, the unproven), belief in the good of your fellow man, and most importantly, belief in yourself…all set to bawdily lyrical tunes and some fabulous choreography.

Earlier this week, as I attended media night and enjoyed the show for a third time—having had the great fortune of seeing it during both of its previous tours through Music City, I was finally able to find a balance between the oft shocking humor and the sweeter aspects noted above. Part of this newfound enjoyment came courtesy the chanced proximity to the slightly inebriated, but undeniably enthusiastic foursome who hadn’t yet bore witness to the glory that is The Book of Mormon, who just so happened to be seated next to me. Their exclamations of “Oh My God!” and “I can’t believe they just said that” reminded me of the first time I saw The Book of Mormon, or for that matter, the South Park movie. Both times, I thought to myself, “If the world ends right now, you’re going straight to hell right alongside everyone in this theatre.” Remember, I told you it’s THAT ballsy.

While the show is exactly the same, save a few updated references to Nikki Minaj and Neil Patrick Harris, this time around, something different clicked for me. The Book of Mormon is the All in the Family of this generation. For those old enough to remember, when Archie Bunker ruled the television airwaves, audiences were shocked week after week at what came out of the bigoted New York character’s mouth, courtesy the remarkable acting of Carroll O’Connor and the show’s creator, Norman Lear, but it was that mirror to society that somehow magically educated the masses through humor. If you’ll let it, The Book of Mormon does the exact same thing.

While the show—nor the wildly inappropriate humor—hasn’t changed, the cast has, allowing even the most jaded BOM fans like myself yet another chance to see it for the first time, as the current cast simultaneously embody the expected aspects of their respective characters, while breathing new life into them with their own talent and presence.

Tobin as Elder Price (photo courtesy Tobin’s Instagram)

This time around, Elder Price is being played by Liam Tobin, who originally joined the tour a year ago understudying the lead. Nashville audiences might remember Tobin from his stint as Gerry Goffin in Beautiful: The Carole King Musical, which played TPAC two seasons ago. As Elder Price, Tobin brings the charm and wholesomeness. HIs boy-next-door looks matched only by his Broadway-belting vocal skills. Tobin’s enigmatic presence, even when the character’s faith and friendship is tested, shines through. You gotta love a missionary who dreams of being assigned to Orlando who instead ends up in the wilds of Africa.

Pierson as Elder Cunningham

Mandated by the Church of Jesus Christ of Latter Day Saints, of course Elder Price has a companion. Enter Elder Cunningham, blissfully, nerdily, enthusiastically played by Conner Peirson. Peirson’s comedic timing and knock-em-outta-the-park vocal skills harken images of a young Jack Black. Among his finer moments, Peirson as a relationship developed with Kayla Pecchioni’s Nabulugi, a young African villager who’s name is bastardized throughout to hilarious result.

Other notable members of the cast include Ron Bohmer (who, if you check out my Rapid Fire 20 Q, you’ll see also has ties to Nashville), as Elder Price’s Dad, as well as Mormon founding father, Joseph Smith. Every member of the cast, from Monica L. Patton’s brief but unforgettable turn as Mrs. Brown and Corey Jones as The General to the entire ensemble bring energy, talent and humor coming forth so seamlessly that it keeps the show moving so quickly that you barely have time to recover from one uproarious moment to the next.

While there’s always been resistance to The Book of Mormon and those who’s cast it out as vile and unredeemable, let’s not forget…Broadway has always had a history of pushing buttons while opening eyes. From Shakespeare’s violent Titus Andronicus to the nudity and free-love of Hair, and in more recent years, the heart wrenching truths of Angels in America, theatre has frequently shocked to inform, to entertain and educate. BOM is just one of the latest to brilliantly do all of the above.

The best part…it does all this while presenting all the elements of a traditional theatre. While the laughs are often nervous with embarrassment, they’re genuine guttural guffaws. Then there’s the musical numbers. From the start, the appropriately titled Hello, arguably the show’s most well-known number, performed by our two leads and the ensemble of Mormon missionaries, starts things off on a hilariously high note. (This seems as good a time to mention a brief aside. When I chatted with Tobin recently for the latest of my recurring Rapid Fire 20 Q interview segments, I asked if actual Mormon missionaries still showed up outside the theatres handing out the real Book of Mormon. He confirmed and noted that it was more unusual if they didn’t. Much to my delight, as I got out of my car in front of TPAC earlier this week, there were indeed two mormon missionaries, dressed in black slacks, with short-sleeve white dress shirts, black ties and name plates above their left pocket handing out their religious materials. As I passed by I made eye contact with the Elder closest to me and said a quick “Hi”. To my amusement, rather that the expected “Hello”, he smiled and kindly replied, “Howdy”…well, we ARE in Nashville after all.)

Back to the show, in addition to the show’s opening Hello, The Book of Mormon is packed with by the book…the Broadway book that is…showtunes, musical numbers and some fabulous choreography. You and Me (But Mostly Me) checks off the comical duet box, Hasa Diga Eebowai, the OMG, they’re actually singing a song about this? shock value box. Then there’s Turn it Off, the show’s tap-tactic all-in mid-Act 1 wowser.

Among Act 2’s most memorable….Spooky Mormon Hell Dream, pretty much self-explanatory, complete with prerequisite effects and puppetry, not to mention nods to pop culture evils such as Hitler, Dammer and even Jonnie Cochran. I Believe follows and is the show’s unlikely anthemic entry showcasing once again Tobin’s leading man vocals and charisma. Not to be outdone, Peirson and Pechioni shine during Baptise Me, a song about Elder Cunningham baptizing Nabulungi with so much sexual innuendo you just might need a cold shower afterwards. Midway through Act 2, I Am Africa is yet another showstopper with the entire company of missionaries embracing their newfound, albeit totally appropriated, heritage. Simply, awkwardly, hilariously brilliant.

The Book of Mormon continues its Nashville tour dates at TPAC’s Jackson Hall through Sunday, March 17 with Friday and Saturday evening performances at 8 p.m., matinee performances on Saturday at 2p.m. and Sunday at 1 p.m. with a final evening performance Sunday at 6:30p.m. Tickets range in price from $45 to $115. CLICK HERE for tickets.

Just last week, TPAC announced a special ticket lottery for all Nashville performances. For each performance, a limited number of tickets will be available for only $25. To enter the ticket lottery, patrons must arrive at the box office (just inside TPAC street level entrance under the marquee at Deaderick and 6th Ave) two and a half hours before showtime of the performance they hope to attend. Upon arrival at the box office, patrons will write their name and the number of tickets (one or two tickets per entrant). Two hours before curtain, a limited number of names will be drawn for tickets in the first two rows of the Orchestra, thus allowing the winning lottery participants to purchase those tickets at the special $25 price!

Following the Nashville dates, The Book of Mormon continues across the country with stops from Grand Rapids to Salt Lake City through August. For tickets or more information about the tour, CLICK HERE. You can also follow the tour on Facebook, Twitter and Instagram.

Next up at TPAC, as their Broadway series continues is the national tour of Anastasia, on stage at Jackson Hall, March 19-24 CLICK HERE for tickets or more information. You can also discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

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