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Theatre Review: Leapin’ Lizards! Chaffin’s Barn’s ‘Annie’ a pure theatrical delight; on stage thru August 3

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Galen Fott, Ava Rivera and Rankin in Chaffin’s Barn’s “Annie” (all photos courtesy Chaffin’s Barn Dinner Theatre/phhotos by Michael Scott Evans

As I mentioned in my recent Rapid Fire 20 Q with the cast and director of Annie—currently on stage at Chaffin’s Barn Dinner Theatre now through Saturday, August 3—for nearly 100 years, we’ve had a soft spot for the precocious yet lovable ginger-haired orphan. From Harold Gray’s 1924 comic strip to the mid-70s stage musical, to film an TV adaptations in the 80s, 90s and 2000’s, Annie is engrained in our pop culture conscious. With director Joy Tilley Perryman taking charge of bringing Annie back on stage at The Barn (the show last played the legendary dinner theatre back in 2011), I had no doubt this production would be an enjoyable one. After all, who doesn’t love a rags-to-riches story set to a few toe-tappin’ tunes? Even as the show’s musical director, Rollie Mains and musicians Daniel Kozlowski, Luke Easterling and Raymond Ridley begin the Overture, I was reminded of just how many memorable songs are amongst the Annie soundtrack…each and every one of them as hummable and memorable as the next.

The combination of Perryman’s knack for directing comedy, paired with some stellar adult casting choices and a cavalcade of undeniably charming youth come together to surpass all expectations, resulting in not only what is easily the best production of Annie I’ve seen since the aforementioned 80s film, but…and I can’t believe I’m saying this…one of the best productions of a show I’ve ever seen at Chaffin’s Barn Dinner Theatre. That’s a statement not to be taken lightly, because The Barn has a 50-plus year reputation for putting on some of the most enjoyable and talent-filled dinner theatre experiences around.

Ava Rivera as Annie, with Rufus as Sandy

As is customary when a show involves a number of younger cast members, Chaffin’s Annie actually has two separate youth casts. When I attended opening weekend, Ava Rivera was playing Annie, alongside Lilah Benjamin, Daisy Urbanowicz, Olivia Harper, Adriana Rivera, Annalaura Lyon and Abigail Levy as her fellow orphans. Rivera, making her Chaffin’s debut, plays Annie with impish spunk. Visually, Rivera is reminiscent of Ashley Johnson, the young actress who played Annie opposite Joan Collins’ baddie in the 1995 direct-to-video iteration (what can I say? I’m a fan of both the American orphan and the British legend). For a Barn first-timer, Rivera certainly embodies her precocious character, establishing her character’s plucky optimism from the beginning with the show opening Maybe and continuing to present a believable performance of a young girl longing for a better Tomorrow going toe-to-toe with her adult co-stars as well as holding her own with scene stealers like the aforementioned Benjamin, who plays youngest orphan, Molly. (I’m just going to make a prediction right now…Annie 2025 at Chaffin’s starring Lilah Benjamin).

Can’t mention the orphans without praising the show’s choreographer, Lauri Dismuke. While watching the kids perform what I”ll dub Dismuke’s Orphanography—the succinct and precisely performed choreography during It’s a Hard Knock Life—I had a revelation. THIS number just might be my all-time favorite musical theatre number in all of musical theatre. I mean…down-trodden kids forcibly performing domestic chores for a haggard, drunken marm…come on!

Elle Wesley as Annie

Speaking of the other orphans, each of the young girls playing Annie’s fellow orphans posses a stage presence that, at one point or another during the show, draws you eye to them, Perryman’s direction, coupled with the young girls’ own inimitable charm working perfectly in tandem to achieve this. As indicated above, there are two youth casts for this production of Annie. Rivera leading one, which plays certain performances, while Elle Wesley, also making her Chaffin’s debut, leads the other at alternativing performances, with Aubrey Rogers, Samantha McWright, Demetrius Knowles II, Hailey Ridgeway, Grayson Caughey and Adison Rodgers rounding out Wesley’s fellow orphans. Word has it both sets of orphans and both Annie’s turn in equally enjoyable performances, so I’m just gonna go ahead and suggest seeing the show twice.

Ava Rivera and Galen Fott in “Annie”

 On the subject of enjoyable performances, the adult cast isn’t too shabby either. Galen Fott, whose recently shaved head shines like the top of the Chrysler Building (sorry, couldn’t resist) is absolutely perfect as the initially gruff but eventually loving Daddy Warbucks. A longtime member of the Nashville theatre community, Fott’s Daddy Warbucks marks a long-overdue return to The Barn, having last appeared at the dinner theater in the late 80s. From appearances in Nashville Opera’s The Cradle Will Rock and Nashville Repertory Theatre’s A Doll’s House, Part 2, to Nashville Children’s Theatre’s The Little Mermaid—and just last week, during Annie’s run, an invite-only table read for a new work presented as an immersive theatre pop-up courtesy Studio Tenn—recently, it seems I can’t see a show without Fott being amongst the cast…and that’s a great thing. With every role, Fott brings a powerful presences and unmistakable talent, and his Warbucks is no different. He’s ultimately charming as Annie’s future father, their shared stage time perfectly believable as the loving father/daughter dynamic unfolds.

While Annie is indeed the lead, Molly,the scene-stealer and Daddy Warbucks, the most-changed among the characters, Miss Hannigan, Rooster and Lily easily provide the most laughs as the scheming, yet ultimately unsuccessful villains. To that end, and to her advantage as a director, Perryman has enlisted the aide of three familiar faces to Chaffin’s audiences.

Jenny Norris as Miss Hannigan

Jenny Norris is a dream—or is it devilishly delicious nightmare—as the drunken and deceitful orphanage caretaker, Miss Hannigan. Whether seductively sidling up to Daddy Warbucks or drunkenly devising a plan to scheme, Norris’ Hannigan is comedy gold. Her Act 1 highpoint, Little Girls, which she performs while simultaneously sipping from a flask and casually ripping the head off a doll, is equal parts frighting and delighting. Plus, you gotta love that ever-present flask throughout the show resulting in Hannigan appearing more and more inebriated, thus allowing her true colors to show through as the show goes on. A not-so-subtle, but absolutely brilliant bit of direction and characterization.

Aiding and abetting Norris’ Miss Hannigan in her schemes are Curtis LeMoine and Christina Candilora as Rooster Haningan and Lily St. Regis. LeMoine, fresh off a show-stooping turn in Studio Tenn’s Joseph and the Amazing Technicolor Dreamcoat, returns to The Barn having turned up the heat with his Too Darn Hot number during Chaffin’s recent Kiss Me, Kate. Candilora, who will forever be my favorite Gypsy Rose Lee, returns to The Barn having stolen hearts as Jovie in their holiday production of Elf. Together, and alongside Norris, these three dastardly villains make a life of crime seems a viable alternative. Just as the kids wow during the previously noted Hard Knock Life sequence, Norris, LeMoine and Candilora bring the audience to rousing applause during Easy Street, making Dismuke’s villainography look…well…easy.

It’s not just the orphans and the main adults who make Chaffin’s Annie look easy though. The supporting cast is also simply spectacular. Natalie Rankin’s Grace is everything sweet and wonderful a potential new mom for Annie and new love interest for Daddy Warbucks should be. Daron Bruce turns in a truly presidential (well, what the term use to mean) performance as FDR. Hannah Clark, Delaney Jackson and Katie Yeomans are pitch-perfect as the melodious Boylan Sisters. J. Robert Lindsey is sure to make you smile as charming radio announcer, Bert Healey. Vicki White and the rest of the ensemble, including Gerold Oliver, Kelsey Brodeur, David Benjamin Perry, Seth Brown, Emma Puerta, Morgan Riggs, Austin Jeffrey Smith and Scott Stewart are all a joy to behold, most notably, during the all-in—and surprisingly eerily timely—We’d Like to Thank You, Herbert Hoover. Not only does this particular number sadly resonate with current political and social events of the day, but thanks to the sheer magnitude of the talented cast, with everyone singing, it’s hauntingly beautiful. Gotta love a musical in Music City. I’m from here and I’m still constantly blown away by the talent in this town.

Members of the ensemble during the ‘Hooverville’ number

Then there’s Annie’s faithful pup Sandy. Played by breakout star, Rufus. While his diva tendencies tend to show through, some scenes you just wanna lay on the stage and ignore the cute little curly-top who’s belting out Tomorrow, you gotta love a dog in a show and Rufus’ Sandy gets two paws up from this reviewer.

When I noted earlier that this production of Annie may well be my favorite Chaffin’s show ever, I really meant it. From the implausible, yet ultimately yearned-for story of an orphan girl seemingly randomly chosen to spend the holidays with a less-than-warm billionaire, that involves literally cartoonish villains and an audience with President FDR, to a soundtrack peppered with memorable tune after memorable tune, to Perryman’s skill at directing a laugh-filled show in the square (God, I love Chaffin’s still-functioning descending stage!), and a cast with not a misstep in the bunch, to paraphrase yet another Annie song, I Think YOU’RE Gonna Like It Here!

Chaffin’s Barn Dinner Theatre’s Annie runs through August 3 with performances Thursday-Sunday. Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). There will be a 2 p.m. (doors at noon) Sunday matinee on July 21. The Thursday, July 25 noon matinee will featuring signing for the hearing impaired, and there will be a Wednesday matinee on July 31 at noon (doors at 11a.m.). 

Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu.  CLICK HERE to purchase tickets or call 615.646.9977 to make reservations with the box office. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Rapid Fire 20 Q with the director and cast of ‘Annie’; at Chaffin’s Barn July 11-August 3

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For nearly 100 years, popular culture has had a soft spot for the precocious yet lovable curly-headed orphan girl known simply as Annie. From her 1924 debut as cartoonist Harold Gray’s main character and the star of her own Broadway show, which premiered in 1977, on to 1982’s beloved film adaptation featuring Aileen Quinn, Albert Finney, Carol Burnette, Ann Reinking, Tim Curry and Bernadette Peters and even popular, abeit less successful redos in 1995, 1999 and 2011, Annie and her wide-eyed optimism remains a positive and uplifting reminder that the sun will in fact come out tomorrow. Well, lucky for Nashville theatre audiences, they don’t have to wait for tomorrow as Chaffin’s Barn Dinner Theatre’s Annie opens today, July 11 and runs through August 3.

Earlier this week, with the show’s opening only a day away, I had the opportunity to chat with the show’s director, a few of the adult co-stars and both you actresses who’re playing Annie for my latest Rapid Fire 20 Q interview. That’s right, because of the rigors of this tune and dance-filled show, Chaffin’s is working with two youth casts. What follows are my conversations with Ava Rivera and Elle Wesley—the two Annies; Joy Tilley Perryman, the shows director; Galen Fott, who plays Daddy Warbucks; Jenny Norris, who’s appearing as Miss Hannigan and Curtis LeMoine, cast as Rooster.

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RAPID FIRE 20 Q WITH CAST AND CREW OF CHAFFIN’S ANNIE

RAPID FIRE WITH CHAFFIN’S ANNIE STAR, AVA RIVERA

JHP: How excited are you to be playing Annie at Chaffins?

AVA RIVERA: I am so thankful to God and Chaffin’s for the opportunity to play my dream role of Annie! This theatre is well known so this is a very big deal for me. I love working with everyone there especially my new friend Elle Wesley. I hope I can someday perform at Chaffin’s in the future! 

JHP: What’s it been like working with Rufus, the dog who’s playing Annie’s canine pal, Sandy?

AVA RIVERA: Rufus is one of the sweetest and cutest dogs in the world. We worked real hard together to be a great team. I’ll let you in on a secret, He is the real star of this show! 

RAPID FIRE WITH CHAFFIN’S ANNIE STAR, ELLE WESLEY

JHP: What’s the best part of being Annie at Chaffin’s?

ELLE WESLEY:  That’s difficult because there are so many fun things!  If I had to choose it would be all the friends I have made and the new people I have met.  I will always remember the connections I have made with the orphans, Sandy the dog, all the servants, Grace, Warbucks, EVERYONE! That’s the best thing about being Annie – you get to connect with EVERYONE in the cast at some point in the show.  We really have fun together and it shows on stage. The smiles and laughter are all very real.  It’s a great cast and I feel really blessed to be a part of it!

JHP: Hard Knock Life is one of my favorite Annie moments. Are you enjoying working with the show’s choreographer, Miss Lauri Dismuke and the other orphans during this sequence?

ELLE WESLEY:  Oh yes!  It’s one of my favorite moments too!  I have made such good friends with the orphans especially the ones I have to hate like Pepper, July, and Duffy.  And I LOVE Miss Lauri!  She is so helpful and encouraging to all of us.  She worked really hard with us to make sure that song was really fun for the audience to watch.  There are a lot of twist and turns and tricks that are really cool.  It’s one of the best parts of the show.

RAPID FIRE WITH CHAFFIN’S ANNIE DIRECTOR, JOY TILLEY PERRYMAN

JHP: With two young actresses playing Annie and two separate youth cast as the orphans, what has the rehearsal process been like?

JOY TILLEY PERRYMAN: We started with the orphans and the Annies a week before the adult cast came on board. We called that week Annie Camp and we had a blast. It really helped make the process so streamlined. On the day of the table read, the orphans were ready to blow away the adult cast with Hard Knock Life!

JHP: If memory serves me, I believe Annie was last mounted at Chaffin’s in 2011. What is it about the show that makes it a classic crowd-pleaser time and time again?

JOY TILLEY PERRYMAN: It is such an optimistic show. It is a feel good story and a rags to riches tale. See also, cute kids! And adorable dogs!

JHP: Which leads perfectly to my next question…They say to never work with kids or animals in show business, yet here you are directing a show about a girl and her dog. How’s that working out for you?

JOY TILLEY PERRYMAN: It is actually going great. I get along well with both those groups, kids and dogs, so here we are.

JHP: As the director, is there a particular scene that you’ve put your particular spin on that you’re especially proud of, or think ‘THIS is MY Annie’ while watching from the sidelines?

JOY TILLEY PERRYMAN: I think I do have a distinctive style when it comes to comedy, so there are a couple of scenes, that definitely have my fingerprints all over them, but I am going to let you watch and pick them out!

RAPID FIRE WITH ANNIE’S DADDY WARLOCKS, GALEN FOTT

JHP: A few days ago, on your social media, you posted your transformation to the clean-shaven, bald-headed Daddy Warbucks. I commented on your post that I had just been talking about you and the role. Kudos to you for going all in on the physical look. Nothing I hate more than someone playing Warbucks with a head full of hair. Is this physical transformation the most extreme you’ve gone through for a character?

GALEN FOTT: The only thing that comes close was going to the opposite extreme. About 30 years ago, right after doing my only other show at the Barn (The 1940’s Radio Hour), I played the Hairy Man in Wiley and the Hairy Man at Nashville Children’s Theatre. Scot Copeland helped me design my wonderful makeup, which included fake full beard, fake bushy mustache, fake long straggly hair, fake eyebrows, and fake nose. I was a shaggy sight! Yet underneath it all — for the show’s final moment when the Hairy Man loses his hair — I had to wear a bald cap, making for an extremely hot performance. Actually shaving for Daddy Warbucks is a much cooler option!

JHP: Because of the dual casts, you are working with two Annies. Let’s play a little word association. In a single word, how would you describe each of your pint-sized leading ladies?

GALEN FOTT: Now, that’s tough. Both these girls are so wonderful, it’s going to be necessary for everyone to attend the show twice so they can see them both. But they do have their unique qualities, and while both girls embody both of these words, if you’re going to pin me down I’ll go with:

Ava — spunky

Elle — determined

JHP: Of course Annie isn’t your only on-stage love in the show. There’s also Grace, Daddy Warbucks’ faithful assistant. Natalie Rankin is playing Grace. What’s she like as a scene partner?

GALEN FOTT: Natalie is spunky, yet determined. No wait, sorry, that’s Annie…ah, Natalie! She is completely amazing. I just saw her in Street Theatre Company‘s Hedwig and the Angry Inch, playing a character as far from Grace Farrell in Annie as you could possibly get. She’s totally believable and compelling in both roles. Natalie wasn’t as familiar with Annie as I was, from having listened to the cast album since I was 13 (and desperately wishing it was called Andy instead). So it’s been illuminating for me to work with Natalie in reexamining the slightly sketchy Warbucks/Grace relationship from a more contemporary viewpoint.

JHP: What’s Daddy Warbucks’ most redeeming quality?

GALEN FOTT: I’d say “open-mindedness”. He’s initially reluctant to have Annie spend the Christmas holidays — he was anticipating a boy orphan — but he quickly grows to love her. A Republican himself, Warbucks is at first resistant to F.D.R. and his policies, but he’s willing to reconsider and work together for the betterment of the country. Single-mindedly committed for decades to making money, he’s still able to reexamine his life and find a place for loving relationships with Annie and Grace. Who knows…maybe one day he’ll reconsider that hairstyle!

RAPID FIRE WITH ANNIE’S MISS HANNIGAN, JENNY NORRIS

JHP: Last time I attended a show at Chaffin’s, you shared with me your slight apprehension of playing the baddie, Miss Hannigan in Annie. Have you since embraced the villainy?

JENNY NORRIS: Well my nervousness was more based upon the typical portrayal of Miss Hannigan being outside much of what I’ve had the opportunity to play thus far in my career. I wanted to create my own version of Miss Hannigan that served the story but also stayed true to the parts of her I discovered within my own understanding to how this woman ended up cynical, desperate, and unkind, without doing an impersonation of the great portrayals that came before me. I hoped to create a real person, not a caricature and I hope I have done that, villainy and all.   

JHP: Do you find yourself going out of your way to be sweet to the young cast members when not on stage camping it up as Miss Hannigan?

JENNY NORRIS: They are easy to be sweet to as they work really hard and are great kids. I think to some extent, I’ve stayed a little more distant bc I want their characters to feel some nervousness onstage in our scenes.  I want them to see Miss Hannigan when they see me, not Jenny, even though I would like to give em a big hug when we leave the stage and I have just screamed at them. 

JHP: Is Miss Hannigan simply misunderstood? Is there a heart in there somewhere?

JENNY NORRIS: I feel she was raised to believe the way you get ahead in life is to lie, steal, and cheat. She is a romantic that hopes to find love but has been used and tossed away her whole life and that has further solidified her belief that she has to be out for number 1, always. At some point she winds up in charge of all these orphans and its a constant power struggle. In her mind, them versus her. She IS the villain: cruel, selfish, cynical. But there are reasons why she ended up there. 

JHP: Of course the optimistic anthemic Tomorrow is the show’s most recognizable number, but the show has several memorable musical moments. Miss Hannigan’s Act 1 number, Little Girls is my personal favorite from the entire show. What can you tell me about working with the show’s musical director, Rollie Mains?

JENNY NORRIS: I love working with Rollie! He is so talented and always attacks everything from the perspective of telling the story first and foremost. He gives you the freedom to develop your character and sing your songs in a manner that fits that character you have created. He gives you important things to consider and guidance when needed, but the lead-way to feel uninhibited in your creativity. But trust me, he will reel you back on in if you get too far out there! 

RAPID FIRE WITH ANNIE’S ROOSTER, CURTIS LEMON

JHP: Rooster is a scamp and a con-artist. Basically the polar opposite of you. What’s it like to play such a rascal?

CURTIS LEMOINE: I love playing the bad guy, especially if there is a comedic aspect to the character! Believe it or not, I have played several notable villains, or villains-by-proxy: Lord Farquaad, LeFou, Joey and now Rooster. Rooster is particularly ruthless though. While Miss Hannigan is looked upon as the main villain, Rooster is the one who decides to do away with Annie while Miss Hannigan shows a moment of remorse. 

JHP: As Rooster, your paired on-stage with Christina Candelora, who plays Lily St. Regis. You’re both among my theatre crushes. What’s among the perks of sharing stage time with her?

CURTIS LEMOINE: Christina is a joy to work with! She is not afraid to make bold choices and is a great scene partner to try gags with and physical comedy with. Not to mention, she is an absolute bombshell so I’m quite flattered to be her onstage squeeze!

JHP: Rooster and Lily’s big number is Easy Street. You two share it with Miss Hannigan. How would you categorize this epic musical moment, as presented by you three?

CURTIS LEMOINE: As a kid, watching all the animated Disney films, I was always enamored by the songs that all the villains got to sing. You can argue if you’d like but quite honestly, I think the villains always got some of the best songs in those movies. This is no different. I look at it as a chance for the three of us to have our big show-stopping Disney villain number. And we aim to please! The staging, the choreography, and the added harmonies we have worked out with Rollie Mains are spot on and we cannot wait to share it with a live audience. 

JHP: Anyone who knows you, or has had the pleasure of seeing you spark the stage dancing as if your life depended on it in recent shows like Chaffin’s Kiss Me, Kate and Studio Tenn’s Joseph and the Amazing Technicolor Dreamcoat, likely knows you’re a skilled dancer and choreographer. On the subject of choreography, Lauri Dismuke is helming that aspect of the show. Can you sneak peek any choreo moments to watch out for in Annie?

CURTIS LEMOINE: I am so impressed with both casts of Orphans that we have! Both Hard Knock Life and Never Fully Dressed Without A Smile are definite numbers to watch out for because those kids are working it! The ensemble in this show is fairly new to The Barn but we have some fabulous movers in this cast and Hooverville is definitely a number that is quirky, filled with character, and is super fun to watch. And of course, we have a lot of my favorite style of dance in this show….. TAP!

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Chaffin’s Barn Dinner Theatre’s Annie runs through August 3 with performances Thursday-Sunday. Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). There will be a 2 p.m. (doors at noon) Sunday matinee on July 21. The Thursday, July 25 noon matinee will featuring signing for the hearing impaired, and there will be a Wednesday matinee on July 31 at noon (doors at 11a.m.). 

Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu.  CLICK HERE to purchase tickets or call 615.646.9977 to make reservations with the box office. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Rapid Fire Q&A: A ‘bisl of a schmooze’ with Mel Weyn, Natalie Powers and Ruthy Froch, three of Tevye’s five daughters in ‘Fiddler on The Roof’; National Tour in Nashville at TPAC’s Jackson Hall thru Sunday, June 30

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The current National Tour of Fiddler on the Roof—based upon director Bartlett Sher’s triumphant 2015 Broadway revival, opened in Music City last night, Tuesday, June 25 at TPAC’s Jackson Hall. Just days before the touring company made their way to Nashville, I had the opportunity to pose a few questions to Mel Weyn, Natalie Powers and Ruthy Froch, who play the three eldest daughters Tzeitel, Chava and Hodel to Yehezkel Lazaro’s eponymous roof-fiddling Tevye, for the latest installment of my recurring interview feature, Rapid Fire Q&A. What follows are our conversations about the show, their relationships on and off the stage and their thoughts about being part of such a legendary show steeped in tradition.

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Natalie Powers, Mel Weyn and Ruthy Froch (l to r) star as Tevye’s eldest daughters in Fiddle on the Roof, at TPAC thru Sunday. (all photos by Joan Marcus/courtesy FiddlerMusical.com)

RAPID FIRE Q&A WITH FIDDLER ON THE ROOF’S ELDEST DAUGHTERS RUTHY FROCH, NATALIE POWERS AND MEL WEYN

RAPID FIRE WITH FIDDLER ON THE ROOF’S TZEITEL, MEL WEYN

JHP: What can you tell me about Tzeitel?

MEL WEYN: Tzeitel is Tevye and Golde’s eldest daughter in Fiddler on the Roof. She is like the mini-mama of the family. Full of heart and compassion but also has a fire to her. She is so brave and speaks her mind, but it always comes from a place of fierce love. I really admire her spirit and courage to be the first of her family to defy/question the rules of this society and the traditions.

JHP: From my research in preparing to chat with you, I discovered you’re not only playing the eldest sister in Fiddler, but you’re also a big sister in real life. Do you think your own sisterly dynamic has helped you bring Tzeitel to life on the stage?

MEL WEYN: I am! And I do. I love my sister so much (hey Becca). I think having my younger sister in real life made it really easy to tap into that dynamic with my new onstage sisters. Being the oldest comes naturally to me and I hope it comes across that way onstage. Getting to work and travel with Ruthy, Natalie, Danielle Allen and Emmy Glick in this capacity has been really interesting to witness in how our sisterly dynamic grows and changes over the months. My individual relationships with them seep into the onstage performances making them that more layered and rich. I feel so lucky to have had these gals by my side this year – they are all wonderful

JHP: This isn’t your first national tour, having previously toured with The Sound of Music. It’s also not your first time playing Tzeitel, having played her back in 2012 during a summer stock production at the Arrow Rock Lyceum Theatre in Missouri. So this question is two-fold…What’s your favorite aspect of life on tour?…and…How has your portrayal of Tzeitel changed now that you’re seven years older than when you first approached the character?

MEL WEYN: Oh wow! I love touring for a plethora of reasons. I love to travel and see new cities – there are so many that I would have never have gotten a chance to visit if it wasn’t for touring. So many amazing small town coffee shops to visit and sites to see. I try to go to a museum in every city we have visited on Fiddler. I also love the family it gives you. Being away from home for a year at a time is tough but, you are all in it together. The bonds I have made with this cast are life long and that is something so special.

I think that I understand Tzeitel much more than I did seven years ago. I can comprehend the gravity and reality of her situations in a deeper way after having a little more life experience. She loves Motel with her entire heart and the possibility of not getting to be with him is a heartbreak in of itself. On top of that, she gets betrothed to the butcher who is less than appealing. To really lock in to those stakes and ground her reactions from a place of truth has been easier this time around. Instead of playing the idea of being hurt or the idea of who the character of Tzeitel is, I find her coming from my core. Breathing in the situations and scene partners in front of me and responding in a more authentic way.

JHP: Fiddler opens with Tradition, one of the show’s many memorable tunes. What’s a family tradition you hold dear?

MEL WEYN: My family and I are very close. Every summer my dad’s whole side of the family spends a week together at the beach in North Carolina and its something we all look forward to. Not because of the nice summer location or the amenities (although those aren’t so bad), but the time with one another. We all live in different parts of the country so the time we get to connect and spend together is cherished. They are hilarious and giving and we always have a great time. I am really thankful for a family that makes it a priority to be with each other. The sense of community and ritual that comes along with an annual gathering is one of a kind. I definitely feel the parallels of that family trip with moments in our show.

JHP: I’m about to chat with Natalie and Ruthy, so…How would you describe these two on-stage sisters?

MEL WEYN: Oh they are wonderful. I remember the first table read being so impressed by both of them and the portrayals of Hodel and Chava and, how as a trio, we fit together so well. Ruthy is a peacekeeper by nature – so compassionate and understanding with everyone she encounters. Natalie is so multi-talented and has this quiet humor and wit to her that always gets me. I am really thankful for both of them and this journey we have gotten to take together. They will always be my sisters and I can’t wait to continue these friendships outside of the show where it all started.

RAPID FIRE WITH FIDDLER ON THE ROOF’S HODEL, RUTHY FROCH

JHP: From your perspective, who is Hodel?

RUTHY FROCH: Because Fiddler on the Roof focuses on Tevye’s three eldest daughters, I like to think of Hodel as the middle child. You have Tzeitel, who is Mama’s favorite, and the first for everything, and then you have Chava, everybody’s favorite child, and then there is Hodel in the middle. She is super intelligent, and quick-witted. In my eyes, she wants to find where she belongs, where someone sees her for who she truly is, where she can be important.

JHP: I understand this is your first national tour. What’s it been like thus far?

RUTHY FROCH: It truly has been such a dream! Touring is such an incredible way to see the nation, and it’s really bringing out the explorer in me. It has been such a gift to tell this important story in so many different cities, and share my love for Fiddler, and my culture with so many different people!

JHP: While Hodel is one of five, my research revealed that you yourself have a large family. Where do you fall within your sibling birth-order and has having a big family affected your take on Hodel and the way she interacts on stage with her sisters?

RUTHY FROCH: I’m actually the oldest in my family! I have a younger brother, and I’m the first grandchild on both my mom and my dad’s side. I’m really close with my cousins so it does feel like they are siblings in a way. Watching everyone grow up in my family and being the oldest allowed me to see how everyone has their “role” in the family. It definitely affected how I interact on stage with my sisters and my creation of Hodel.

JHP: So much of Fiddler’s appeal—at least to my way of thinking—comes from the deep history of the Jewish faith and culture. A prime example, the gorgeous and intricate choreography. What can you tell me about the show’s choreo?

RUTHY FROCH: The choreography in our production is very grounded, pedestrian, and in my opinion so traditionally Jewish. Hofesh Shechter, our choreographer, reimagined Jerome Robbins’ original choreography. Fiddler has such iconic moments, like the bottle dance, filled with such excitement and tension. I love to hear audiences reactions to our wedding dance, whether they are cheering throughout or clapping along, it really is something we can all experience together. Hofesh’s choreography is specific and intentional, it all blossoms out of the circumstances and helps to move the characters forward.

RAPID FIRE WITH FIDDLER ON THE ROOF’S CHAVA, NATALIE POWERS

JHP: You’re playing Chava, Tevye’s middle daughter and the youngest of the three eldest siblings at the center of the show’s action. Sharing that older daughter dynamic onstage with Ruthy and Mel, I’m curious, have you all developed a sister-like bond that continues during your off-stage time?

NATALIE POWERS: Definitely! This whole tour cast has started to feel like family. All four of my onstage sisters have been a wonderful support system on the road. I know who to go to for every occasion too — whether it be for a laugh, to vent, to cry or even just for a hug.

JHP: What aspect of Chava’s personality do you wish you could emulate more in your own life?

NATALIE POWERS: Her voracious appetite for reading! I personally love reading, but in a leisurely way. I would love to read books cover to cover every day like she does!

JHP: Being a period piece, the costumes for Fiddler are always beautiful. Do you have a favorite look in the show, whether it be yours or someone else’s?

NATALIE POWERS: I am so in love with Catherine Zuber’s designs for this show. I have a purple vest that I wear during Matchmaker that has a lot of intricate quilting work. I would have to say that is my favorite piece!

JHP: That’s a perfect lead-in to my next questions…Matchmaker is among the show’s most recognizable musical moments. Have you ever played matchmaker, or been the recipient of matchmaking?

NATALIE POWERS: I actually have not! I have noticed that people tend to gravitate towards similar minded people and like to watch matches happen organically that way!

JHP: On a broad,more obvious scale, Fiddler is about family, tradition and change. Is there an underlying theme within the show that you’ve discovered while performing the piece night after night?

NATALIE POWERS: Through Chava’s storyline, I’ve realized that what you take out of the show really depends on where you are in your own life. For instance, a mother seeing the show will absorb something totally different than a son. One of the lessons that resonates with me right now is that sometimes you have to make choices that are right for you, knowing that it may not be possible to please everyone.

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My conversations with Tevye’s eldest daughters may have ended, but it’s just the beginning of your chance to get in on the family celebration as Nashville tour dates of Fiddler on the Roof continue at TPAC’s Jackson Hall through Sunday, June 30. Remaining performances are Wednesday and Thursday at 7:30p.m., Friday and Saturday at 8p.m. Saturday matinee at 2p.m., Sunday matinee at 1p.m. and a final Sunday evening performance at 6:30p.m. Tickets range in price from $40 to $100. CLICK HERE to purchase tickets or for more information.

On Monday, TPAC announced a digital lottery for $25 tickets to Fiddler on the Roof that is available via the TPAC Concierge app. The lottery is open from 10:00 a.m. – 4:00 p.m. the day before the show patrons wish to see. Winners will be notified a few minutes after the lottery closing time and will have 60 minutes to accept/purchase the tickets. CLICK HERE for more information on the digital lottery, or CLICK HERE to download the TPAC Concierge App via the Apple App Store or CLICK HERE to download the app via Google Play.

Not in Nashville, but want to be part of the Fiddler on the Roof simkhe? Following their Nashville tour stop, Fiddler continues on through spring of 2020 with upcoming engagements across the US. CLICK HERE for specifics. You can also follow Fiddler on the Roof via Facebook, Twitter, Instagram and YouTube.

While Fiddler on the Roof closes out TPAC’s current Broadway Season, they’re hard at work on the 2019 TPAC Gala, an annual fundraising event that helps support the organizations educational, cultural and outreach initiatives. This year’s Gala theme, is Hamilton, in anticipation of the landmark musical’s upcoming Nashville debut as part of the 2019-2020 season.

Then it’s on to TPAC’s next Broadway Season  with the Music City premiere engagement of Dear Evan Hansen on stage at TPAC September 10-15. CLICK HERE for Season Ticket options.  To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram as well.

If you’ve enjoyed this installment of Rapid Fire, CLICK HERE to check out previous chats with local and national theaterati. 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.

Rapid Fire 20 Q: Conversations from The Emerald City as The Larry Keeton Theatre celebrates Opening Weekend of ‘The Wizard of Oz’ directed by Jef Ellis

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When you consider the fact that L. Frank Baum’s beloved The Wizard of Oz was originally released in book form in 1900 and the equally-iconic MGM musical movie adaptation itself is celebrating it’s 80th anniversary this year, it’s really no surprise that all things Oz continue to be just as mesmerizing all these years later. Proof that the story of young dreamer Dorothy Gale’s first visit to the enchanted Land of Oz is still an audience favorite is evident in the fact that The Larry Keeton Theatre opened their production of the stage adaptation earlier this week with shows continuing at the popular Nashville area dinner theatre, with performances continuing through June 29.

To celebrate Opening Weekend, I recently had an opportunity to chat with the show’s director, Jef Ellis as well as four members of his cast including Emma Brown, who plays Dorothy, J. Robert Lindsey, who’s cast as The Tin Man, The Cowardly Lion’s Sara Kistner and Thomas Gentry, who’ll be performing the role of The Scarecrow for an All-In, All-Oz Rapid Fire 20 Q.

Sara Kistner, J. Robert Lindsey, Thomas Gentry and Emma Brown in The Keeton Theatre’s “The Wizard of Oz”

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RAPID FIRE 20 Q WITH DIRECTOR & CAST OF THE LARRY KEETON THEATRE’S THE WIZARD OF OZ

RAPID FIRE WITH THE WIZARD OF OZ DIRECTOR, JEF ELLIS

JHP: What’s your first memory of The Wizard of Oz?

JEF ELLIS: I grew up as part of a generation who watched the movie on TV once a year and my earliest memory is being scared to death of those flying monkeys. In fact, we’d have to switch off the TV every time they made an appearance. I don’t think I ever saw the entire film until I was well into adulthood and could manage my flying monkey phobia with grace.

JHP: Having interviewed you in the past, I’ve noted that whenever you direct a piece that’s as beloved for its cinematic adaptation as it is its stage version, you always manage to pay homage to the Hollywood incarnation. Can you reveal, or at least tease, how you’ve achieved this with this production of Oz?

JEF ELLIS: The script is very much like the screenplay, down to the stage directions. But because I love classic films of this particular era, I have chosen to honor the golden age of Hollywood — specifically 1939 — with some of the expected tropes of moviemaking of that time and when I’ve talked about it with my cast members, I’ve often used references to the stars of that era and we’ve attempted to give the Kansas scenes a sense of classic black-and-white filmmaking and acting for the camera. It is subtle, but it’s there and it helps inspire my talented cast.

JHP: What aspect of this production has brought you the most joy as a director?

JEF ELLIS: Believe it or not, it’s working with young actors, particularly the very young actors who play a variety of roles from Munchkins to Ozians to the Wicked Witch of the West’s flying monkeys. Introducing this beloved film to a new generation is both an awesome and daunting experience. When we first started, I felt rather at sea insofar as what I was striving to do with this particular show, but one day during rehearsal, I restaged the Act One finale (the approach to the Emerald City after the experience in the field of poppies) and it suddenly dawned on me what the show is actually about and how impactful it can be on audiences, whether they are veterans like me of seeing the movie annually for years and years or if they are only just now being exposed to it.

JHP: Why does The Wizard of Oz endure?

JEF ELLIS: To my way of thinking, it’s a uniquely American fairy tale — the story of one young girl’s search for who she really is and what is most important to a life well-lived, told in a distinctly American way. I think far too often The Wizard of Oz becomes the focus of academics who try to foist their own meaning upon the story — and lord knows, I love that kind of stuff — but when I read more about L. Frank Baum and what he was trying to do, it opened up vast new vistas for me as far as storytelling is concerned. To me, the best thing about live theater is its ability to transport and to transform and there is perhaps no show I’ve directed in my career that better subscribes to that belief. The Wizard of Oz is the quintessential American fairy tale that instantly whisks audiences away to a vividly imagine world quite unlike any you might imagine on your own. Because of that, the story is timeless and we can all find something about it with which we might identify.

RAPID FIRE WITH EMMA BROWN, DOROTHY GALE IN THE WIZARD OF OZ 

JHP: Frank Baum’s The Wizard of Oz is easily one of the most beloved stories ever. What’s it like to be cast as Dorothy Gale?

EMMA BROWN: If you play an iconic character, comparisons to the original are inevitable. That kind of pressure is an exciting challenge because it’s all about bringing some of the magic from the classic to the stage. A little magic and a lot of dog treats.

JHP: Arguably, the 1939 film adaptation is just as popular, if not more so, than the classic novel. Were you a fan of either incarnation before auditioning for this production?

EMMA BROWN: We had The Wizard of Oz movie on VHS when I was little, and I used to rewind the scenes and act them out alongside the TV. One of my favorites was throwing myself off our couches to reenact when Judy Garland falls into the pig pen. Unfortunately, the stage version does not have that scene, because I would have been thoroughly prepared.

JHP: While researching to chat with you and your fellow Ozians, I ran across a recent Oz-related post on your social media in regards to your recent birthday. Care to share what your parents did to celebrate your birthday and you being cast as Dorothy?

EMMA BROWN: My mom labeled yellow napkins with letters that said, “Follow the Yellow Brick Road,” and she put them on the floor leading to the kitchen, where my Dad hung a Wizard of Oz poster that he drew himself. It had the Lion, Scarecrow, Dorothy, Tin Man, the Emerald City, apple trees, rainbows, it was incredible. The thoughtfulness of those two almost made up for the fact that Dad used up all my markers.

JHP: Somewhere Over the Rainbow is simply iconic. Do you have a favorite phrase amongst the lyrics that kind of gets you every time you sing it?

EMMA BROWN: “…And the dreams that you dare to dream, really do come true…” I love that lyric for two reasons: it speaks to anyone with passion, ambition, and hope, and it’s the only place in the song where I get to breathe.

RAPID FIRE WITH THOMAS GENTRY, THE SCARECROW IN THE WIZARD OF OZ

JHP: Which of The Scarecrow’s characteristics do you share—or would you love to adopt?

THOMAS GENTRY: Oh man, The Scarecrow and I have more in common than I ever realized. Perhaps the most obvious might be my general absent-mindedness (yeah yeah, pun-intended). Ask anyone who’s ever tried to leave the house with me; I can NEVER find my keys, wallet, phone, etc. Also, like the Scarecrow, I’m an external processor so I often put my foot in my mouth by spewing unfiltered babble or asking questions with obvious answers. I will say however, that I admire the Scarecrow’s unwavering and selfless love and support of Dorothy. To me that’s a very endearing characteristic of the Scarecrow and something that I’d like to demonstrate in any friendship.

JHP: Alright, I just gotta say…with your hair, did you initially audition for The Cowardly Lion? Because your mane is epic! But on to my real question….The Scarecrow is surprisingly a very physically demanding role. Do you have a dance background?

THOMAS GENTRY: Haha, ya know, I didn’t. But it’s been brought to my attention that I perhaps should have. Maybe I’ll lop it off for Sara, our Lion, to make a wig out of. Anyway, you are not lying about the Scarecrow being a physically demanding role. After being cast, I began watching so many different performances where the Scarecrow was doing full splits and jazz pirouettes. I thought, “uh oh.” But I do have a background of basic ballroom dancing and a shameless enthusiasm to brave any dance-based aerobics class no matter how outnumbered I am by middle-aged moms. Throw that in with a history of various board sports that have taught me how to roll and fall and I’d say I’ve attempted to adapt the part to the floppiest, most energetic version of my skill-set. Knee pads help a lot too.

JHP: One of my absolute favorite Scarecrow lines is, “Some people without brains do an awful lot of talking, don’t you think?” Given today’s social and political climate, do you expect to get big reactions from that line?

THOMAS GENTRY: I know, right? When I first read the script I thought “Oh my gosh, how did they know?” It just seemed perfectly timed. A little more research led me to the fact that the L. Frank Baum’s 1900 novel The Wonderful Wizard of Oz was always intended to be somewhat of a political allegory. Much of the allegorical structure remained in tact in the beloved 1939 film which popularized the line in question. The genius of this line is that it will always be relevant no matter who’s doing a lot of talking or who’s in power at any given time. That said, I, like every person who has heard this line since 1939, do think it seems most applicable considering today’s social and political climate and I certainly hope for big reactions from that line.

JHP: While this interpretation of The Wizard of Oz follows the 1939 film adaptation very closely, one sequence that was cut from the film, The Jitterbug, was added back to this stage version when it was first produced by the Royal Shakespeare Company In 1987. What can you tell me about this number and the show’s choreography as a whole?

THOMAS GENTRY: Initially, it seemed that much of the cast had a love/hate relationship with this number. Ya know, no one’s really heard it, it’s not exactly a crowd favorite upon first listen, and it’s certainly not the 80’s Wham hit that I first think of when I hear Jitterbug. That said, it’s one of only two instances where the leads get to sing and dance with the entire ensemble, so The Jitterbug is actually key during the second act to give the audience a little something spicy and fun featuring almost the entire cast. And ya know what? It’s actually become a pretty cool number. Our choreographer, Kevin Raymond, has really turned it in to something nice. He’s done a great job of adapting the film’s choreography to the stage, while still maintaining the look and feel of the film’s original dance numbers that the audience expects to see.

RAPID FIRE WITH SARA KISTNER, THE COWARDLY LION IN THE WIZARD OF OZ 

JHP: The Cowardly Lion is typically played by a male, so…are you playing the role as a gender-flip? non-binary? or in male drag?

SARA KISTNER: The best way to describe the way I am playing the Cowardly Lion is a mix of gender flipping and non-binary factors. I know it is difficult to technically do both, but we changed words like him to her and king to queen, but I am trying to remain true to the Cowardly Lion as everyone knows “him”. I play the Lion with a deeper voice but Queen of The Forest may catch you by surprise. I am using that gender battle of Men are tough and Women are gentle and trying to place myself amongst the other characters to really play up each of the Lion’s hurdles with courage.

JHP: When playwright John Kane and the Royal Shakespeare Company revisited the story of Oz for this iteration’s debut in 1987, the costumes were based on a combination of both the original illustrations by William Wallace Denslow from the 1900 1st edition of Baum’s book and Adrian Adolph Greenberg’s legendary costumes designed for the 1939 film adaptation. Who designed the costumes for The Keeton’s production and what’s your favorite aspect of them?

SARA KISTNER: Our costume designer Cary Street, is recreating Glinda, Dorothy, Tinman, Scarecrow, and Lion as we all remember them whether it is the film or the stage adaptation, while taking our ensemble and giving them some flare and originality. My favorite aspect of our costumes would have to be the color scheme for our ensemble members, everyone pops in their own way on stage!

JHP: Earlier this year you worked with Jef as a member of his cast of Singin in the Rain and now in Oz. While composing questions to ask you and your fellow Yellow Brick Roadies, it dawned on me, Jef is a bit like the Wizard isn’t he? I’m curious…in the spirit of Oz, what’s something surprising you’ve learned about Jef…behind the magic curtain?

SARA KISTNER: Jef is in fact a lot like Oz, he goes wherever the wind takes his balloon. We all know Oz as this big scary spectacle of a being that no one really knows much about other than the obvious, I believe that is true for Jef as well, to a degree. The way Jef directs is very much straight to the point, and we as his cast are to follow his instructions in order to reap our rewards. The difference between Jef and Oz is, Oz is pretending to be something he is not, Jef remains true to himself and his demands are for the best of the production he is working on at the time. Once the cast has completed their tasks and we begin the run of our show, that is when Jef comes out behind the curtain we receive our motivational speech and the wind takes him on to his next adventure.

JHP: The Cowardly Lion seeks courage. What does courage mean to you?

SARA KISTNER: I believe Courage is not defined by one specific thing. Courage can be as simple as facing the day when all you feel is dread, it is going out and walking with the masses whether you are a feminist, a member of LGBTQ, Black Lives Matter, or even serving the United States Military. You never know what each day may bring you, but facing each day with everything you have in your soul not knowing what may be waiting for you, that is true courage.

RAPID FIRE WITH J. ROBERT LINDSEY, THE TIN MAN IN THE WIZARD OF OZ

JHP: Prior to being cast as The Tin Man, how familiar with this particular adaptation, which debuted on stage in 1987, and more closely follows the classic film than other stagings?

J. ROBERT LINDSEY: I had the opportunity to play The Tin Man (and his farmhand counterpart, Hickory) in college.  We did this adaptation as well, so I was pretty familiar with this particular version.  As a child, I was obsessed with the movie, so having the chance to play this role in a version that so closely follows the film not only once — but twice — has been such an honor.

JHP: This mounting of The Wizard of Oz marks how many times you’ve worked under the direction of Jef? What keeps you coming back to audition when he’s at the helm?

J. ROBERT LINDSEY: Wizard is the fourth time I have worked under Jef’s direction.  I first met Jef when I played Cliff Bradshaw in his production of Cabaret followed by My Fair Lady (as Freddy Eynsford-Hill) and The Boys in the Band (as Larry). What I love about Jef as a director is that he comes into the rehearsal process with a very clear vision. As an actor, it’s great working with a director who knows exactly what he wants out of you. Jef also does a wonderful job of recreating classic films on stage. In this particular show, he pays homage to the 1939 film as well as the original novel while simultaneously adding some twists and turns along that way that audiences have never seen before.

JHP: Among the lyrics of The Tin Man’s famed If I Only Had a Heart is the line, “Just to register emotion, jealousy, devotion and really feel the part”. At what point during the rehearsal process did you ‘really feel the part’ as far as finding YOUR The Tin Man?

J. ROBERT LINDSEY: Having played this role before, I didn’t want to cop out and recreate the same exact performance. The stage version dives into some of The Tin Man’s backstory. For The Tin Man, a heart represents the life he knew before the Wicked Witch enchanted his axe and subsequently turned him into tin. During one of our rehearsals, we were running the scene where the Tin Man shares his story with Dorothy and the Scarecrow. As the words were coming out of my mouth,  I really thought about how heartbreaking (no pun intended) his story is and how that fuels this journey he goes on. For me, that’s when this incarnation of the Tin Man started to evolve.

JHP: Among the many themes of Oz, Family is key, whether it’s the family we’re born into or the family we choose. I hear actors say over and over that their casts become family. Why do you suppose that is?

J. ROBERT LINDSEY: So many of the stories we tell in theatre are centered around relationships. As the cast dives into creating their own characters and developing the relationships they have with the other characters in the show, it’s hard to completely separate yourself as an actor. It’s an emotional journey and requires a lot of energy, and the only people who can relate are the ones in the show alongside you. It truly fosters a sense of family – which is one of my favorite aspects of theatre.

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The Wizard of Oz at The Larry Keeton Theatre continues with shows thru Saturday, June 29. Thursday-Saturday shows begin at 7p.m. with Sunday matinee curtain at 2p.m. Dinner and Show tickets are available for $30 for Adults and $20 for Children 12 and Under. Show Only Tickets are available for $25 for Adults or $15 for Children 12 and Under. Unlike Dorothy, you don’t need a flying house, a bubble-hopping good witch, a hot air balloon or even ruby slippers to visit, but you do need to CLICK (just one time)….CLICK HERE for tickets.

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

If you’ve enjoyed this installment of my recurring interview feature,be sure and check out previous conversations at Rapid Fire 20 Q. Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Theatre Review: Thirty years after its debut, ‘Miss Saigon’ themes ring true today

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Since Broadway producer Cameron Mackintosh (Les Miserables, Phantom of the Opera, Cats) first presented Miss Saigon in the late 80s,  the show has been met with equal parts praise and criticism. Remembering little more than that the Vietnam War-era drama—with music by Claude Michel Schoenberg and original lyrics by Alain Boublil and Richard Maltby—is loosely based on Giancomo Puccini’s famed opera, Madame Butterfly, plus the fact that I hadn’t seen the show since its first National Tour in the early 90s, I was anxious to revisit it during its current engagement on stage in Nashville at TPAC’s Jackson Hall thru Sunday, June 9.

For those not familiar, a bit of Miss Saigon’s plot: As sweeping Broadway musicals often do, Miss Saigon tells an often heart-tugging story. American GI Chris meets and falls in love with a young Vietnamese woman named Kim while deployed in Saigon during the Vietnam Conflict. Sadly separated on the day Kim is to join Chris as he leaves to return stateside, the story continues as Kim struggles to make a life for herself while always thinking of the life she could have had with Chris in the US. Meanwhile, Chris attempts to put the war and all that came with it behind him as he meets and marries Ellen, a young American woman. A few years later, Chris and Kim’s paths cross again and more drama, love and tragedy play out.

But here’s the thing, even if you’ve seen Miss Saigon in the past and are familiar with the story, this tour features a few differences from previous incarnations, making it worth a second look for sure.

Just last week, when I chatted with two members of the tour for my latest Rapid Fire Q&A, I asked Anthony Festa, who plays Chris, about some of those differences in the current production. Festa revealed, “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.” Festa was spot on in his assessment, as Connor’s fresh take has indeed helped to reinvigorate the show.

The show begins with the up-tempo, and deceptively party-atmospheric The Heat is On. Gotta love the telling lyric “Is there a war going on? Don’t ask, I ain’t gonna tell”. It’s during this number that  the audience is introduced to naive Kim (Emily Bautista, who understudied the role during its recent Broadway revival run), a beautiful orphaned girl who’s lost her parents during the Vietnam War, who, with no other viable choice, begins working at the ironically named Dreamland, a nightclub/brothel run by a shifty local known simply as The Engineer (Red Concepcion fresh from the UK touring company).  Meanwhile, Festa’s Chris and several of his fellow soldiers, including Chris’ friend, John (J. Daughtry) descend upon Dreamland.

Both longing to escape the torment of war and their current situations, what might have been a single night of unlikely romance and passion develops into much more as Kim sees meeting Chris as a life-changing opportunity, while Chris feels empathy and a shared solace in their circumstances.

Festa plays Chris with a kindness that I don’t remember the character necessarily having in previous productions I’ve seen. That, coupled with Festa’s handsome features and comforting tenor vocals, make it easy to see why Kim would fall for him.

As for Bautista’s Kim, yes, she’s gorgeous, yes she plays the role with a nuanced hurt/strength seesaw of emotions, but it’s her subtle movements, a look, a gesture and her powerful, yet sweet vocals that make her portrayal her own. It should be noted that Myra Molloy plays Kim at certain performances.

Perfectly illustrating the different ways of perceiving one’s situation and one’s relationships with others, enter Christine Bunuan as Gigi, a…shall we say…more experienced co-worker at Dreamland. Hardened by the hand life has dealt her, but sympathetic to Kim as she adjusts to her current situation, Gigi’s performance of The Movie in My Mind, a telling tune with equal parts regret and surprisingly unwavering hope, is one of the show’s early highlights. This is Bunuan’s shining moment, as Gigi all but disappears from the story afterward, but it’s her powerful, heartfelt performance that is among the most memorable of the entire show. Adding to the poignancy of the lyrics, Bautista joins Bunaun during the number, offering the audience a loot into Kim’s future through Gigi’s present, while reinforcing the dream/nightmare of their reality.

While The Movie in My Mind is indeed gorgeous and telling, it’s not exactly melodically memorable. To be honest, not much of Miss Saigon’s tunes are. That said, Kim and Chris’ Sun and Moon is still THE show’s most romantic number, as is its Act 2 reprise. Don’t get me wrong though, while it’s not a soundtrack you’re likely to be humming after you leave the theatre, it is indeed sweeping, powerful and magnificent, and much like myself, who hadn’t heard it in more than a decade or two, as each number was performed, the emotion and brilliance returned like a long-dormant sense-memory. To that end, I have to think the show honors its inspiration, Madame Butterfly. Rather than being full of show tunes in the traditional sense, Miss Saigon’s soundtrack serves as a melodic narrative. Instead of simply speaking the words that propel the story, the plot is revealed in narrative melody.

In previous mountings of Miss Saigon, there seemed to be more anger. Anger from Kim once she discovers Chris has made a new life for himself. Anger from Ellen, when she learns the deep bond between Chris and Kim. And finally, anger from Chris for Kim, who kept a huge secret, and for Ellen who isn’t as forgiving as he had hoped. But with this current production, thanks to a few rewrites, as well as the entire company’s ability to play hurt, disappointment, vulnerability and yes, anger with jus the right balance, there’s a new understanding, a new depth to the story. When I spoke with Bono about this during my recent Rapid Fire Q&A, she perfectly illustrated the point by offering, “I hope my portrayal of Ellen has helped show that she is not a villain at all, but another victim of this story.”

Speaking of Bono’s Ellen, her Act 2 scene with Bautista’s Kim, Room 317 and the subsequent Maybe, are among the second act’s memorable moments.

Another great example of the victim-theme found throughout the piece comes in the unlikely form of the aforementioned Concepcion as The Engineer. Played largely for laughs with humorous lyrics, outrageous antics and a bit of stereotyping, The Engineer, in 2019 comes across a victim of the conflict of war as well, or at the very least, a victim of the opportunities of war. Most of his numbers, The Transaction, The Deal, The Morning of the Dragon, If You Want to Die In Bed, What a Waste and The American Dream are key to the evolution of not only his character, but the story itself.

Even the set design mirrors the overall theme of the desire to better one’s life. Early on, Dreamland, the club owned by The Engineer is little more than a lean-to with a thatched roof. When John and Chris return to Vietnam in search of Kim after the war, they encounter The Engineer is what can only be described as a Vegas-inspired conglomeration of cheekily named strip joints. Then, later, as The Engineer sings the praises of The American Dream, it’s an all-out show-stopping spectacle.

Without giving away too much of the plot for those who may not be familiar, Act 2’s opening number, Bui Doi, featuring Daughtry’s John has a renewed significance thanks to recent events at the hand of our current administration. During this number, a very nice, but increasingly chatty lady sitting next to me leaned over and asked if I remembered this particular time in US history, I quietly said I was a bit too young to remember it. Let me tell you this, it was everything I could do to keep from standing and applauding loudly when this particular number was over, because Bui Doi contains a lesson we have apparently forgotten, a lesson we need to remember now, as much as ever.

So, lessons we still need to learn, gorgeous sets…mostly actual, physical three-dimensional sets, not dependent on LED screens, I might add, a romance that crosses time and place, oh, and did I mention….Festa was right…the legendary helicopter sequence that is just as magnificent and impactful as ever? Whether seeing Miss Saigon for the first time or returning to an old favorite, this show is a must see, can’t miss entertainment extravaganza of the most unexpected kind.

Miss Saigon wraps its Nashville tour dates with show 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. TPAC is also still offering limited $30 tickets to remaining performances. Simply arrive at the Box Office 90 minutes before showtime and enter the lottery drawing for your chance to purchase up to two tickets at the special price. CLICK HERE to purchase tickets or for more information.

Next up at TPAC, the National Tour of Fidler on the Roof returns to Jackson Hall with performances Tuesday, June 25-Sunday, June 30. CLICK HERE for tickets or for more details.

Following their Nashville dates, the National Tour of Miss Saigon continues on to Boston, San Diego, LA, Tempe, Salt Lake City, San Jose, Fort Worth, Tulsa, Louisville, West Palm Beach, Atlanta, Miami, Syracuse and Baltimore through June of 2020, with more dates to be announced. CLICK HERE to purchase tickets.

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.

Theatre Review: Neil Simon’s ‘God’s Favorite’ provides retro laughs and surprising thoughtfulness; at Chaffin’s Barn Dinner Theatre thru June 22

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John Mauldin, Scott Stewart (center) and Jenny Wallace lead the hilarious cast of Neil Simon’s “God’s Favorite” at Chaffin’s Barn Dinner Theatre thru June 22. (photo courtesy Chaffin’s Barn Dinner Theatre)

God’s Favorite, now onstage at Chaffin’s Barn thru June 22 may not be as widely known as  legendary playwright Neil Simon’s other works like The Odd Couple or his somewhat autobiographical Brighton Beach Memoirs, Biloxi Blues and Broadway Bound, but when presented by one of Nashville’s favorite theatre companies, especially when under the direction of Joy Tilley Perryman and featuring several Music City favorites among the cast, rest assured the laughs are heaven-sent.

With a plot that heavily borrows from THE Good Book’s story of Job, God’s Favorite swaps the biblical leading man’s name from Job to Joe, Joe Benjamin at that, perhaps a wink to the $100 bill, for you see, Joe is a wealthy cardboard box magnate who’s trust in God and love of his family has showered him with success and happiness.

Set in the 1970s, complete with a perfectly retro wardrobe courtesy Miriam Creighton and a simplistic but groovy set, lighting and overall look from Perryman’s technical team including stage manager Catherine Forman, sound engineer Stephen Platea, lighting designer Austin Olive, set construction by Robin Lawshe and production assistance from Delaying Rizer, the play begins at the stroke of midnight when a mysterious stranger arrives at Joe’s home and reveals that he is indeed God’s Favorite, but that his trust in the lord will be tested unless he renounces him.

While this may not read like the stuff of which a Neil Simon comedy is made, you just have to have a little faith in Perryman and company to deliver the goods. Resplendent with seventies references including nods to The Exorcist, Robert Redford, a hilarious bit of schtick involving a rotary phone and such, the script may seem dated at times, but Perryman takes full advantage, even having her sound guy play a bit of The Exorcist theme between scenes just when things start to go awry for Joe and family.

Leading the cast is John Mauldin, who in the last few years has indeed become a Chaffin’s favorite. As Joe, Mauldin is the perfect embodiment of the ‘everyman’. Jolly and pleased with his happy life, Mauldin’s Joe brings to mind Archie Bunker…if Archie were ever in a great mood. Even when tested with the loss of his business, plagued with aches and pains and the destruction of his home, Maudlin’s Joe keeps his positivity, an aspect I suspect the actor himself maintains in his real life.

Cast opposite Mauldin is yet another Barn Dinner favorite, Jenny Wallace as Joe’s wife, Rose. Having made her Chaffin’s debut three decades ago, Wallace has appeared in some three dozen plays at The Barn. As Rose, Wallace at first seems the typical well-bred, well-off woman, first appearing oblivious to any and all slightly uncomfortable situations around her, but as Joe’s faith is tested, Wallace’s Rose seems to have a bit of a metamorphosis as she comes to also value the importance of familial love over material belongings.

Speaking of familiar love, The Benjamin’s are blessed with three young offspring. Returning for his third and most significant role to date at Chaffin’s is Elijah Wallace as David Benjamin, the family’s eldest son and a bit of a seemingly lost cause. Having enjoyed Wallace in his campily flamboyant portrayal as Charles Nelson Reilly in The Barn’s The Game Show Show during the holiday season, I was happy to see him take on this role. Though peppered with easy-target drunk jokes and pratfalls, the role of David provides some of the show’s most poignant moments and Wallace handles the range of his character with ease and conviction.

Marking his debut performance at The Barn is Ben Woods as Ben Benjamin. Most of Wood’s on-stage time is shared Annika Burley as Sarah Benjamin, Ben’s twin sister. You’d never know these two weren’t longstanding members of the Chaffin’s family, as they fit easily into the comfortable, fun atmosphere. At the top of the show there’s a running gag of young Sarah repeating every line spoken by her father and brother. Under the direction of a less-confident director, this scene—heck, this entire play—could easily play a bit droll and reaching for obvious laughs, but with Perryman at the helm, it’s truly charming and unexpectedly though-provoking.

Speaking of Perryman, in addition to directing, she also appears in the show, playing Mady, one of The Benjamins’ servants. Like Mauldin and Wallace and Wood and Burley, Perryman is also paired with a recurring scene partner throughout the show in the form of yet another Chaffin’s favorite, Charlie Winton as Morris, The Benjamin’s butler. Perryman and Winton are relegated to brief scenes, but as seasoned performers, they make the most of their time on stage and are always a delight.

Rounding out the cast is Scott Stewart as Sidney Lipton, the aforementioned mysterious guest who…Spoiler Alert…is actually a messenger from God…or maybe Satan…I”m still not 100% clear on that. Nonetheless, Stewart, yes, another Barn favorite, is an absolute joy to watch. It’s funny that I mentioned Charles Nelson Reilly earlier in this review…interesting because Reilly created the role of Sidney Lipton in the original 1974 Broadway production of God’s Favorite. For Scott’s Sidney, he goes the nebbish nerdy route, and he does so perfectly, affecting his normally commanding voice to come across a bit more uncertain and nervous. But you gotta love when Sidney is pushed and needs to be a bit more assertive, Stewart belts out a booming line or two that are divine indeed.

As is typical for a Neil Simon play, the jokes come at you at lightning speed, one-liner after one-liner, typically served with a heavy dose of sarcasm and wit, but it’s the not-so-hidden message behind the laughs, the message of faith and family that makes this little charmer worth the watch.

While the plot is outrageous at times and the resolution a bit unbelievable and ever-so neatly packaged within the show’s two-hour run-time, as presented by director Perryman and stars Mauldin, Stewart and company, God’s Favorite will surely be a favorite amongst Chaffin’s patrons.

God’s Favorite continues at Chaffin’s Barn Dinner Theatre with shows through June 22.  Showtimes are Thursdays at 12 noon, Friday and Saturday evenings at 7:30p.m. and a Sunday, June 16 matinee at 2 p.m. Tickets range in price from $13 for Children 12 and under and $20 for  Youth/Student tickets to $35 for Adults. CLICK HERE to purchase tickets.

Being Nashville oldest continuing dinner theatre, Chaffin’s also offers a few dining options in addition to the show ticket pricing. As always, there’s the buffet option, or patrons can also choose items from an a la carte dinner menu with a full range of starters, small plates and desserts. CLICK HERE to check out the menu.

Up next at Chaffin’s Barn Dinner Theatre will be the family favorite, Annie, on the MainStage from July 11-August 3. CLICK HERE for tickets or for more information. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

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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