JHP Entertainment

Entertainment News, Reviews and Interviews

Search Results for: rapid fire

Rapid Fire 20Q with cast members of Playhouse 615’s ‘Hedda Gabler’; final performances thru April 28

by

While many smaller theatre companies tend to showcase audience-expected simple comedies and like, one thing I always enjoy about a Playhouse 615 season is the variety of shows presented by this intimate 60-seat theatre nestled in Mount Juliet, Tennessee. In recent years, they’ve mounted everything from classics like The Trip to Bountiful, The Glass Menagerie and Arsenic and Old Lace to more outlandish fare including No Sex, We’re Sixty, The Sugar Bean Sister and more. Having recently wrapped their run of The 39 Steps, Playhouse 615 continues their tradition of a non-traditional season with their current production, an adaptation of Henrik Ibsen’s Hedda Gabler.

Something else Playhouse 615 isn’t afraid to do…present a show for more than a quick two-week run. To that end, their production of Hedda Gabler debuted the first weekend of April and will conclude its run with shows Friday, April 26 through Sunday, April 28. Last week, with the cast midway through the run, I had a chance to chat with them for my latest Rapid Fire 20Q. Those conversations follow.

————-

RAPID FIRE 20Q WITH THE CAST OF PLAYHOUSE 615’S HEDDA GABLER

RAPID FIRE WITH HEDDA GABLER’s ERIN GRACE BAILEY

JHPENTERTAINMENT: You’re cast as the lead in Hedda Gabler. What can you tell me about the character? 

ERIN GRACE BAILEY: Hedda is a complicated person, and if anything, I think it makes her more realistic. I learn more about who she is and how she responds to the world around her every single time we perform the show. For this reason, I think she’s an exciting and dynamic character. Anyone who sees this show more than once isn’t going to see the same thing twice.

JHPENTERTAINMENT: In addition to starring in the show, you also adapted the play. Forgive the alliteration, but Hedda is pretty heady stuff. What drew you to adapting this work?

ERIN GRACE BAILEY: Well, it really wasn’t my intention to adapt it at first. What changed my mind was reading a bunch of adaptations over and over again. While there are some really awesome ones out there, none of them felt right to me. Hedda is a young woman who suffers from mental health issues and struggles with the gender roles put on to her by those around her. Oftentimes, there isn’t a lot of focus on these things though because Hedda is bright. She’s also a manipulator and makes some horribly harmful decisions that affects the other characters’ trajectories, but in the end, I’ve always been taught, in drama, if you can’t empathize with or care about the character, no matter how awful their decisions are, the tragedy isn’t tragic. I sort of feel like the best way to create empathy for a character is to have it written by someone who understands them, and while I haven’t been through everything Hedda has been through, I relate to her in many ways, especially being in a similar stage of life as her. When we were looking for adaptations of the play to perform, it was hard to find any adaptations written by women, especially contemporary adaptations (which was the route we already knew we wanted to go with it), so in the end, we thought creating our own adaptation would serve us better than trying to conform to someone else’s.

JHPENTERTAINMENT: When you began adapting it, was there always the idea that you’d also star in your own adapted version?

ERIN GRACE BAILEY: Yes, this project actually went a little bit backwards from the usual process. Instead of picking a script and then auditioning and casting it, this one went the other way around. Joel Meriwether, the artistic director at Playhouse, asked me to play Hedda about a year ago. After reviewing different versions of the script, none of them felt exactly right for us or like it focused on the message we wanted to convey, so I decided to adapt the script after that. 

JHPENTERTAINMENT: From what I know, the set is something a bit different for Playhouse 615 in that it not only extends from the usual stage, but also incorporates theater seating on stage. What went into that design decision?

ERIN GRACE BAILEY: I absolutely love performing in the round or on a thrust stage. I did it a lot in college, and I’ve missed it tremendously. I think it’s more intimate and realistic for the actors, and everyone in the audience gets a unique perspective of the story. So much of this particular play is about being stifled or feeling like you’re under someone’s microscope. We wanted the audience to sort of feel like they’re intruding on something, like they’re sitting in the Tesmans’ living room watching everything crumble. In the end, it also just ended up being a more practical decision as well because it gave us a little more space as actors to play.

JHPENTERTAINMENT: Henrik Ibsen’s original was written in Danish, so I have to ask. Unless you speak Danish, what version did you base your adaptation on?

ERIN GRACE BAILEY: Ha! No, I do not speak Danish. I drew inspiration from several different adaptations, but I primarily used a direct translation by Una Ellis-Fermor because I wanted to use a translation or adaptation that was written by a woman, which as I mentioned previously, was a surprisingly difficult find. Ironically, I happened upon Ellis-Fermor’s translation while on a trip to McKay’s when I wasn’t even looking for it, so whoever decided to sell their copy, it was meant to be!

RAPID FIRE WITH HEDDA GABLER’s WILL HENKE

JHPENTERTAINMENT: You’re playing Ejlert Lövborg in Playhouse 615’s Hedda Gabler. Who is Lövborg to you?     

WILL HENKE: Ejlert is a misunderstood man within his own mind and the world around him. There is a certain disconnect with the way his mind and body communicates and often sabotages one another and a most universal disconnect between his existence and his peers. His inability to conform and find meaning in his life is temporarily remedied by the company of Hedda Gabler, who may (or may not) be the missing piece to his inevitable demise.

JHPENTERTAINMENT: Is it just me, or do you hear ‘loverboy’ in the character’s name?

WILL HENKE: Funny that you say that! I always heard “I Love” in Ejlert. He’s Ibsen’s own unorthodox version of a hopeless romantic.

JHPENTERTAINMENT: How familiar were you with Hedda Gabler prior to auditioning for the role?

WILL HENKE: Without outing myself too much, I was completely unfamiliar with Hedda Gabler before the show. I’ve read A Doll’s House to fulfill my Ibsen quota, but most of my theatrical literature is devoted to contemporary pieces (see: Jackie Sibblies Drury, Brandon Jacob Jenkins for my faves).

JHPENTERTAINMENT: I just spoke with your co-star, Eric Grace Bailey, who also adapted Ibsen’s work for this production. She opted to shift the time and setting to modern day. How do you think that enhances this particular version?

WILL HENKE: I think the charm of the modernization lies in the very ability to do so. Setting Hedda in current times as opposed to 1890s Norway is a testament to the timelessness of the piece.

JHPENTERTAINMENT: Your show bio includes a mention of your theatre origin, having played Horse #3 in a high school production of Cinderella. How did that humble beginning prepare you for a life on stage? 

WILL HENKE: There are no small parts. Just small horses.

RAPID FIRE WITH HEDDA GABLER’s SAWYER LATHAM

JHPENTERTAINMENT: How would you describe Judge Brack, the character you play in Hedda Gabler?

SAWHER LATHAM: Brack, in simple terms, is a power hungry narcissist. His entire driving force is manipulating the people around him and he derives pleasure from bending people to his will. Just a stand up guy. 

JHPENTERTAINMENT: Playhouse 615 audiences might recognize you from your recent turn in their production of The Woman in Black. What is it about your experience at Playhouse 615 that prompted a return for another show? 

SAWHER LATHAM: The environment behind the scenes is one of the best in Nashville and the surrounding areas. There’s a certain feeling you get when you’re around people who care as much as you do. I get that feeling here. 

JHPENTERTAINMENT: Your admitted AI-generated acting resume, though mildly entertaining, is largely bereft of any real details of your former roles aside from Smoke during The Bell Witch Fall Festival. What was your first stage performance?

SAWHER LATHAM: My first onstage performance was with the Theatre Bug back in like 2015. I played a little techie kid in Showmance. I don’t remember too much from that process but I must have enjoyed it to still be around doing it today. 

JHPENTERTAINMENT: What is it about Hedda Gabler that continues to interest audiences and remain relevant some 131 years after Ibsen first wrote it?

SAWHER LATHAM: I mean, it’s a classic for a reason. I don’t think I can add anything to it that hasn’t been said already. Ibsen created such an interesting world with incredibly complex characters. Ahead of his time. 

JHPENTERTAINMENT: Your co-star, Eric Grace Bailey of course also adapted this particular presentation. Being the premiere production of this iteration, were there scene in her adaptation that were edited or changed as rehearsals went along?

SAWHER LATHAM: There were definitely trims along the way but in whole it’s remained mostly intact from the first draft. I was lucky so most of my things remained unchanged so I never had to

RAPID FIRE WITH HEDDA GABLER’s MILES GATHRELL

JHPENTERTAINMENT: Who is George Tesman to you?

MILES GATRELL: George is the definition of a guy who looks good on paper: kind, promising career, good family. Unfortunately, in practice he lacks the emotional intelligence for a healthy relationship. He’s someone who is always falling a little short, but can’t understand why. 

JHPENTERTAINMENT: As George, you play Hedda’s easy-going, but inevitably put-upon husband. How is Erin Grace as a co-star?

MILES GATRELL: Erin Grace is the reason I’m part of this show! We had the opportunity to work together last year in the Actor’s Bridge production of Things I Know to Be True. She’s talented, professional, and a joy to collaborate with.

JHPENTERTAINMENT: Your character also shares an on-stage relationship with Beth Henderson’s Juliana Tesman, George’s aunt. I’ve gotta tell you, I consider Beth one of my ‘theatre crushes’, having seen her in a multitude of roles through the years and always being absolutely grateful for the opportunity. How has it been to share the stage with Beth?

MILES GATRELL: This is my first time working with Beth, and I’ve very much appreciated her presence in this show. Her focus and dedication helped ground me during the process, and working our scenes has felt like a breeze.

JHPENTERTAINMENT: Alright, I’m not letting this interview end without going completely off topic to ask about your vintage toy collection. Fellow vintage toy and pop culture nerd here. My favorite item in my collection would have to be my original Bionic Woman lunchbox that I’ve had since I was a kid. What’s among your favorites?

MILES GATRELL: I’m sure some people will balk at this being considered vintage now, but I have a small Pokémon statue that was given away at the 1998 Tokyo TV Fair. As far as I can tell only one has ever been sold on eBay, and it’s quite difficult to find information about it. I managed to snag it from a junk store in Des Moines, Iowa for about four bucks.

JHPENTERTAINMENT: Like your co-star, I understand you’ve also written and produced a couple of plays. Do you believe being creative in both regards enhances your performance as an actor?

MILES GATRELL: I think dipping into playwriting can be very helpful for an actor. Performers can become very focused on their character, and what they hope to achieve in the role. I think it is important to always check back in with the larger story being told. Playwriting makes it easier to understand how your character fits into, and complements that bigger picture. 

—————

Playhouse 615’s Hedda Gabler completes its four-week run with performances Friday, Saturday and Sunday, April 26, 27 and 28 with evening performances at 7:30p.m. on Friday and Saturday and a final Sunday matinee at 2:30p.m. Playhouse 615 is offering a special BOGO (buy one get one) ticket offer for $20 (that’s the usual price of one ticket). CLICK HERE to purchase tickets. You can also reserve your spot by calling the box office at 615.319.7031, or you can purchase tickets (if available) at the door, day of show, an hour before curtain.

Up next for Playhouse 615 is Nunsense, directed by Daniel Vincent and starring Linda Gaille, Ann Street Kavanagh, Diane Bearden-Enright, Cat Eberwine and Takiah Ledo. Nunsense runs May 10-May 26. CLICK HERE for tickets. For more on the show and to keep up with Playhouse 615, check out their website or follow them on Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, follow us on Facebook, Instagram and Twitter.

Rapid Fire 20Q (2 of 2) with cast and director of Nashville Rep’s ‘The Color Purple’ onstage at TPAC’s Polk Theatre April 5-14

by

As I indicated in my first Rapid Fire 20Q featuring the director and cast of Nashville Repertory Theatre announced that The Color Purple, I’m such a fan of the show that I decided to go all in and do two Rapid Fire 20Qs to feature as many cast members as I could. Hey, my name’s on the site, so I can do what I want, right? So…here’s Part 2 of my conversations with the cast of The Color Purple. This time around, I’m chatting with Shinnerrie Jackson (Sofia), Elliott Winston Robinson (Mister), Raven Buntyn (Squeak) and Gerold Oliver (Harpo). In case you missed Part 1, CLICK HERE to check out my chats with The Color Purple’s director, Reggie Law as well as Carli Hardon (Celie), Tamica Nicole (Shug) and  Maya Riley (Nettie). Nashville Rep’s The Color Purple opens at TPAC’s Polk Theatre for performances Friday, April 5 thru Sunday, April 14.

RAPID FIRE 20Q WITH CAST OF NASHVILLE REP’S THE COLOR PURPLE (2 of 2)

RAPID FIRE WITH THE COLOR PURPLE’s SOFIA, SHINNERRIE JACKSON

JHPENTERTAINMENT: Before we talk The Color Purple, while researching to chat with you, I learned you are an Assistant Professor of Theatre at UT Knoxville, and you’re also a company member of Knoxville’s Clarence Brown Theatre. Because I truly love connecting the dots when folks I know, know folks I know, I’m gonna name drop…I’ve known Carol Mayo Jenkins for ages. She is the cousin of one of my dearest friends. Carol was Artist in Residence at UTK until her recent retirement. Do you have a favorite memory of working alongside the legendary actress?

SHINNERRIE JACKSON:  She taught me how to live in the truth of who I am and to be grand. I never thought of myself as grand and she gave me that lesson during a scene she taught from Heartbreak House (Shaw play). She is a phenomenal actress and teacher. I’m still learning from her.  

JHPENTERTAINMENT: You play Sofia in Nashville Rep’s The Color Purple. When I spoke with Carli, I mentioned the impressive list of actresses associated with her role. The same can be said of Sofia. From Oprah to my friend Pam Trotter, Miss Sofia is without a doubt one of the most memorable characters ever to grace the pages of a book, the stage and screen. Would you consider Sofia a ‘bucket list’ role?

SHINNERRIE JACKSON: Yes! I’ve wanted to play this version of Sofia since Felicia P. Fields originated the role in 2005. I was just waiting for my regional theatre turn. I audtioned for NashRep last year and thought it would pass me by, but fate had other plans and here I am!

JHPENTERTAINMENT: Like many of the characters in The Color Purple, Sofia undergoes a transformation. Is there an aspect of Sofia and her transformation that you might consider adopting in your own life long after the show closes?

SHINNERRIE JACKSON: I think we all love Sofia because, despite the difficult systemic violence she’s forced to endure, Sofia is able to come back to herself. Her inner strength, her love and her joy. That’s the lesson for me. 

JHPENTERTAINMENT: A catalyst for the above-mentioned transformation is Sofia finally having enough of certain situations. How do you prepare for the seriousness of such scenes?

SHINNERRIE JACKSON: The script and the book (by Alice Walker) give you everything you need. As soon as the words come out of my mouth the feeling and her personality is there, the words are that powerful. I just have to maintain my stamina throughout the run. I also am invoking the spirit of my grandmother Ernestine Jackson, a woman who never let the violence of the system deter her from her dreams. 

JHPENTERTAINMENT: We touched on your Knoxville connections. Of course The Color Purple’s director, Reggie Law also hails from Knoxville as does Nashville Rep’s Artistic Director, Micah-Shane Brewer. Did one of them reach out to you and urge you to audition?

SHINNERRIE JACKSON: While it has been great to work with Reggie Law, my direct connection is with Micha-Shane Brewer. We are both alumns of the MFA program at The University of Tennessee. I saw the advert for auditions and here I am.

RAPID FIRE WITH THE COLOR PURPLE’s MISTER, ELLIOTT WINSTON ROBINSON

JHPENTERTAINMENT: How would you describe Mister, the role you are playing in Nashville Rep’s The Color Purple?

ELLIOTT WINSTON ROBINSON: It will be evident fairly quickly how horrible a person Mister is when you see the show. My challenge in portraying him is to figure out why he is this way, so I can make choices on stage that show the audience very clearly who he is. Mister is the kind of man that wants to project this great sense of strength & dominance, but he is really not very strong at all; he is just a big ol’ bully. I don’t want to give too much away, but when the people he rules over begin to question his power (Celie, Harpo), even they start to realize what the real man is all about.

JHPENTERTAINMENT: Doing a little digging prior to chatting with you, I discovered this is your Nashville Rep mainstage debut. Not gonna lie, that factoid was a huge surprise to me, as I consider you to be one of Nashville’s most gifted actors. While it’s your Rep mainstage debut, you indeed wowed audiences as part of Nashville Rep’s recent stage reading Narrative of the Life of Cedric Bartholomew. What was the experience of bringing that story to life for Nashville audiences?  

ELLIOTT WINSTON ROBINSON: Thank you, Sir, for the kind words; that means a lot! Yes, it’s my first time for the mainstage. I was welcomed into the REP family at last summer’s Broadway Brunch, then had the pleasure of being involved in REPAloud readings of The Christians and Stick Fly, as well as The Narrative of the Life of Cedric Bartholomew, in the New Works Series. Bartholomew was so powerful because it was new, but also because of the incredibly rich historical nature of the story. The process was amazing; having the dramaturg and the writer in the room while we dug into the script was fantastic! We were able to really get deep into the language, and the history. The performances were great, too, but the process was so fast, I still had questions about the story and my character even after we finished the public readings.

JHPENTERTAINMENT: During the rehearsal process, did your director, Reggie Law offer any notes on finding your Mister?

ELLIOTT WINSTON ROBINSON: Reggie has been the greatest! He detected my nice, easy-going nature very early on (many people who know me wonder how I’ll possibly be able to play this role!), so he has [gently] pushed me and pushed me to commit to being Mister. He is my favorite kind of director, the one that will pull you aside from time to time just to give you another subtle layer to think about while building your character, encouraging all the while. I have seen him do it with each and every cast member! I feel like that keeps me more and more invested in the role, knowing he has confidence in me to make the character come to life.

JHPENTERTAINMENT: And now to be taking on the role of Mister in The Color Purple. I imagine the anger and violence exhibited by Mister would be difficult to play night after night. How do you prepare for those scenes and do you need time to compress after such a daunting performance?

ELLIOTT WINSTON ROBINSON: There are definitely some very difficult moments, none that I’ll give away here. But, like I’ve done with other characters before (Troy Maxson in FENCES comes to mind), I’m pretty good about NOT taking Mister home with me. I know who Elliott is, and the rest of the cast understands the kind of person I am. They are very influential in propping me up, encouraging me to be as Mister as Mister can be. Only on stage, though!

JHPENTERTAINMENT: Mister isn’t all anger and rage. He has his lighter moment’s too. How much are you enjoying playing opposite Carli Hardon, specifically during the Miss Celie’s Pants segment?

ELLIOTT WINSTON ROBINSON: Carli is absolutely amazing as Celie! She weathers this terrible storm of a relationship, but when she starts to realize her self-worth and her value, she confidently gives back just as much as she takes. We have a few really powerful moments on stage, and she’s great at pushing me to create more and more tension in those moments. Again, I don’t want to give away too much, but those “lighter” moments come after Mister makes a stark realization about himself, one that changes the entire course of his life.

RAPID FIRE WITH THE COLOR PURPLE’S SQUEAK, RAVEN BYNTYN

JHPENTERTAINMENT: Your portrayal of Squeak in Nashville Rep’s The Color Purple marks not only your return to the stage after a ten-year hiatus, but also your Nashville Rep debut. What prompted you to audition for this show?

RAVEN BUNTYN: My love for the original movie is what prompted me to audition. I grew up watching The Color Purple nonstop with my grandmother when she didn’t have cable. It taught me life lessons and was filled with so much beauty. That movie helped shape me in ways I’m still learning about today. It’s very dear to my heart. 

JHPENTERTAINMENT: Are you enjoying your time with Nashville Rep?

RAVEN BUNTYN: Absolutely! It’s been so much fun being apart of this show. It’s not everyday that I get to be around people who love to burst into random song and dance as much as I do. It’s so refreshing! 

JHPENTERTAINMENT: Squeak might have limited stage time, but she’s certainly memorable. Who is Squeak to you?

RAVEN BUNTYN: Squeak is a rebel! She’s loud and slightly annoying but full of heart and passion. She really just wants to be loved and seen.

JHPENTERTAINMENT: Quite often, when a character doesn’t get a lot of exposition within the contest of the play, I find that actors frequently create their own backstories as they delve into the character. Have you done this with Squeak?

RAVEN BUNTYN: Squeak has always had a secret desire to sing, she emulates the likes of Shug Avery and wants to be a star. Her father walked out on her and her mother when she was very young, but her mother never failed to instill confidence in Squeak. And even though she’s very naive and inexperienced, because of her mother’s love, she won’t let anyone walk all over her.

JHPENTERTAINMENT: I love the scenes when Squeak asserts herself with Sofia. How much fun are you having in this scenes?

RAVEN BUNTYN: That is my absolute favorite scene! I get to be boisterous and tap into Squeak’s fire. Squeak may not be the one to beat Sophia but she still stands up for herself and I love that about her. 

RAPID FIRE WITH THE COLOR PURPLE’S HARPO, GEROLD OLIVER

JHPENTERTAINMENT: How would you describe Harpo, the role you play in Nashville Rep’s The Color Purple?

GEROLD OLIVER: Harpo was thrust in to a cycle of violent lifestyles. Men in that time period were innately rougher, due to the conditions they grew up with. Harpo is doing his best to slip past the tendency to fall into the same behavior perpetuated by that cycle, but that isn’t to say he’s an unflawed character.

JHPENTERTAINMENT: I read The Color Purple when the book first came out, and of course I was obsessed with the original film adaptation. When do you first recall being cognizant of The Color Purple?

GEROLD OLIVER: I was young when I first saw the original film, albeit I didn’t watch the film in its entirety until I was much older. It wasn’t until I was a young adult that I was made aware that there was a novel from which the film was based.

JHPENTERTAINMENT: What’s it like having Elliott Winston Robinson play your on-stage father?

GEROLD OLIVER: Elliot is a really nice dude in real life. I’ve been lucky enough to have shared the stage with him before. It’s been a fun experience watching him push to find the places he has to go to so he can honestly portray a dark character such as Mister.

JHPENTERTAINMENT: Harpo seems trapped between being bullied by his father and longing to be assertive in his relationships with Sofia and Squeak. How have you tapped into those emotions and what have you learned during the process?

GEROLD OLIVER: Harpo is lost throughout the play. He’s lost because he grew up watching a very poor representation of what marriage should look like. Though I’ve not been exactly where Harpo is, I have been lost due to the dissonance between expectations of what life should be vs what life truly is.

JHPENTERTAINMENT: Over the last few years, you’ve been a frequent presence in the Nashville theatre community, having done shows at virtually every major theatre company. Any advice for those considering auditioning in and around the Nashville area?

GEROLD OLIVER: A good attitude and a friendly demeanor will get you in far more rooms than mountains of talent. That’s not to say, slack off and goof around. Do your work, and try to enter the space ready to play. Things will usually happen fo you.

__________

Nashville Rep’s The Color Purple opens at TPAC’s Polk Theatre Friday, April 5. CLICK HERE for tickets. The beloved musical based on Alice Walker’s classic novel will run April 5-14.  In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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

Rapid Fire 20Q with cast and director of Nashville Rep’s ‘The Color Purple’ onstage at TPAC’s Polk Theatre April 5-14

by

Last year when Nashville Repertory Theatre announced that The Color Purple would be part of their 2023-2024 Season, Alice Walker’s original source material being not only one of my absolute favorite books, but also completely being mesmerized and touched each time I’ve seen the original Steven Spielberg film adaptation and the incredibly moving Tony-winning stage musical, I knew I’d have to chat with members of their cast and crew for one of my Rapid Fire 20Q interview features. When I learned that their entire cast was comprised of some of my theatre crushes, plus a handful of new (to me) but equally gifted performers, I had a difficult time of narrowing down who I wanted to chat with. Then I got to thinking…what would Shug Avery do? Lemme tell you. She’d have them all, so that’s exactly what I did.

Instead of my usual posing of 20 questions amongst four company members, I decided to give Nashville Rep’s The Color Purple the royal treatment it deserves. To that end, as the cast and crew ready to open the show at TPAC’s Polk Theatre for performances Friday, April 5 thru Sunday, April 14, please enjoy the first of TWO Rapid Fire 20Qs!

First up, I’m chatting with The Color Purple’s director, Reggie Law as well as Carli Hardon (Celie), Tamica Nicole (Shug) and  Maya Riley (Nettie), then CLICK HERE to check out my interview with The Color Purple’s Shinnerrie Jackson (Sofia), Elliott Winston Robinson (Mister), Raven Buntyn (Squeak) and Gerold Oliver (Harpo).

__________

RAPID FIRE 20Q WITH DIRECTOR AND CAST OF NASHVILLE REP’S THE COLOR PURPLE (1 of 2)

RAPID FIRE WITH THE COLOR PURPLE’s DIRECTOR, REGGIE LAW

JHPENTERTAINMENT: While directing The Color Purple marks your Nashville Rep debut, you have a lengthy background in the performing arts, most notably as Executive Artistic Director at Oak Ridge Playhouse. I’m guessing East Tennessee is what connects you to Nashville Rep’s Artistic Director, Micah-Shane Brewer. How long have you known Micah Shane and how did directing The Color Purple come about?

REGGIE LAW: I have know Micah-Shane since about 2008 or 2009. We were both Artistic Directors for small East Tennessee theatre companies. We often attended each others productions but had not worked together until now. 

Micah-Shane approached me about directing the show and I said yes without even thinking.  Then had to see if my schedule would even allow it. Luckily the rehearsal period and opening fell at just the right time. 

JHPENTERTAINMENT: I understand you didn’t initially set out to have a career in the theatre, first studying architecture at UTKnoxville?

REGGIE LAW: Boy, you have done your research! How did you know that?  Yes, I came to the state of Tennessee because I had been accepted into the school of Architecture at UT-Knoxville. I had an advisor who had grown up in New York, going to Broadway shows. We used to sit in his office for hours talking about theatre. He made me realize I loved it more than architecture. I had to have the difficult conversation with my mother that was changing from a reliable major to one with little to no job security.  But she was, and still remains, very supportive. 

JHPENTERTAINMENT: How has your background and interest in architecture aided you as a director?

REGGIE LAW: When I left architecture I made the most common sense transition into set design and had planned to become a set and costume designer. But eventually that shifted to stage management and ultimately directing.  I guess the biggest benefit is that architecture trains you to think about systems and planning while exploring creativity.  I think it has allowed me to “speak the language” when collaborating with designers. 

JHPENTERTAINMENT: Anyone who reads my Rapid Fire interviews with any regularity knows I love to include a little six degrees of separation whenever I can. We have a mutual acquaintance in Dolly Parton’s Creative Director, Steve Sommers, you yourself having served as Assistant Creative Director for Dollywood Entertainment. What’s a favorite memory of your time at Dollywood?

REGGIE LAW: Steve is a great. I am so happy for his success. He was one of the most popular singer/dancers at the park while I was there. I started as a stage manager and ended up being an assistant and right hand to Michael Padgett who was creative director at the time, directing some of the productions and some writing of shows.

One of my favorite memories was when i was a stage manager. Dolly made a special appearance and was on a balcony taking to a crowd. It was so windy I had to hold on you her to help her keep her balance. But remain hidden the whole time. I was virtually lying face down while holding the hem of her skirt. 

JHPENTERTAINMENT: What do you hope audiences remember most after seeing Nashville Rep’s The Color Purple?

REGGIE LAW: I want people to leave with the thought that with clarity and goodness, we can overcome anything.  

RAPID FIRE WITH THE COLOR PURPLE’s CELIE, CARLI HARDON

JHPENTERTAINMENT: You’re playing Celie. I can’t imagine anyone not being familiar with The Color Purple, but just in case…who is Celie to you?

CARLI HARDON: Celie is a who goes through so many trials and tribulations and is able to find her voice, strength and power through the women she meets in her life. But she is more than that. She is also deeply loving and able to find faith through the people she meets. She is a survivor. She is highly intelligent both mentally and emotionally. She is a talented seamstress, incredibly loyal, and I think she loves to laugh. Even if the forces in her life make it difficult to do so.

JHPENTERTAINMENT: Nashville Rep audiences will no doubt recognize you having previous appeared in as Joanne in Rent and as Mercy in their production of School Girls; Or the African Mean Girls Play. Have you discovered any similarities between Celie, Joanne and Mercy or are they truly unique in their individuality?

CARLI HARDON: That’s a really cool question! I think there are similarities in all 3 characters. For each one there is a level of insecurity they face as they move through the world as black women. For Mercy, it is her skin tone and hair while for Joanne there is this need to be successful and striving. Celie’s is in her worth and beauty in this world. When I play roles, I try to find similarities in my life so as to bring as much honesty to the characters as possible. These attributes may not be inherent in each character but they were things I found that helped me ground myself in the characters. 

Another thing they all have in common is their capacity and desire to love and be loved. 

JHPENTERTAINMENT: What keeps you coming back to Nashville Rep?

CARLI HARDON: The people. Every show I have worked on has been full of supportive, kind hearted, creative people who will build you up and make you feel limitless. From the administration to the cast to the costume shop to Cece DeCorte and everywhere in between, these people are all-stars.

JHPENTERTAINMENT: The role of Celie has been played by some of the most legendary actresses including my friend LaChanze, as well as Whoopi Goldberg, Fantasia Barrino and Cynthia Erivo. What’s it like to join this iconic group of women?

CARLI HARDON: Woof. Ya know? Honored doesn’t really capture how I feel. It crazy because each of those women shaped my early life in different ways. LaChanze has been one of my role models from a very early age and made me believe I could also blaze a trail in this field as a dark skinned black woman. Whoopi Goldberg is a woman who finds a way to be effortlessly hilarious and switch to being so authentically moving in drama. Fantasia Barrino is a vocal powerhouse who sings from the very depths of her soul and takes each and every one of us on a journey with her as she does so. And Cynthia Erivo? I saw her play this role on Broadway and it was the only time I have ever seen a show come to a full stop for a standing ovation. She is so phenomenal and a dazzling force this world will not easily forget. My goodness these women are goddesses and I am so incredibly grateful to have had them as my guides throughout my life. I’d love to say that I have joined their group but I feel like I have so much more to learn before I’m even close. My only wish is to take what I have learned from them and let it continue to guide me on my journey. 

JHPENTERTAINMENT: As Celie, you get to perform some of the most gorgeous songs, not just in this show, but to my estimation, in all of modern musical theatre. Who are the musical director and choreographer for Nashville Rep’s The Color Purple and what have rehearsals been like?

CARLI HARDON: Our marvelous musical director is Dion Treece and our tremendous choreographer is Joi Ware. Rehearsals have truly been a collaborative process. 

Dion, truly feels the soul of the music and allows the freedom of your expression to help motivate how the music flows. He has this way of seeing the music and coloring it in such a creative and  beautiful way. Not only that, he is one of the BEST cheerleaders in the world. He encouraged me to feel what the moments call for and then takes those same moments to a whole new level based off of what he sees and feels from me.

Joi is truly a wonder to work with. She is able to see what is already being brought to the table and finesse it to being a stunning work of art. From the incredible dance numbers to small moments in scenes that make all the difference in further expanding the world that we are in. She has such a stunning eye for detail. She is such a skilled teacher. She will continue to find ways to help with getting concepts or movement until one sticks. 

Working with both of these titans (go football) has been such a pleasure.

RAPID FIRE WITH THE COLOR PURPLE’s SHUG AVERY, TAMICA NICOLE 

JHPENTERTAINMENT: Shug Avery…Shug Avery! Dang, do I love that character! How much fun are you having playing her?

TAMICA NICOLE: I am having the most amazing time playing Shug Avery. She represents many aspects I see in myself, such as self-determination, self-love, and free spiritedness. She also represents things that one may not want to associate with, such as selfishness and arrogance. What I love about her character, be it positive or negative attributes, she allows the audience,

as well as the actress to embody what it means to be human; not perfect, but real, relatable, aiming towards being a better person.

JHPENTERTAINMENT: In the 1985 film, when asked where her much younger male companion is, Shug slyly grins and says, “He went to college”. It’s been a while since I’ve seen the musical, but I can’t recall if that line made it into the stage adaptation. Nonetheless, the show is full of quick quips. Do you have a favorite line, yours or someone else’s, that makes you giggle every time you hear it?

TAMICA NICOLE: My favorite line/scene is when Shug is trying on a pair of Miss Celie’s pants, overhearing a phone conversation of which Celie is being told her Pa died and left her the store and house he owned. She finds out the man she thought was her Pa was actually her step-Pa, who had been raping her from the time she was 12 in that house. Because of this, Celie did not want the house. Shug cannot believe what she is hearing. She feels Celie should be happy her step-Pa is dead, and her real Pa left her everything. The sassy Shug snaps at Celie and says, “What you talkin’ bout you don’t want a house? Your real Daddy left it for you. That dog of a step-Pa just a bad odor passing through. Gimme that.” (Shug snatches the phone from Celie and says), “Celie want that house. And the store too! And she comin’ home tomorrow to sign the papers. (Shug hangs up the phone and says to Celie) Come on. Get Packed. You get there in time, you can make it to the funeral. Maybe you like him better dead!” This scene cracks me up, and the audience laughs every time they hear it. Shugs no-nonsense attitude towards Celie is so funny. She practically tells her what she is going to do. And the last line, about liking her step-Pa better dead, followed with my sinister laugh, makes for a great chuckle moment.    

JHPENTERTAINMENT: You, like myself, are a Nashville native…we’re rare unicorns, you and I. People love to grumble about ‘New Nashville’, but what I want to know is…what’s your favorite aspect of the changes you’ve seen in your hometown in recent years?

TAMICA NICOLE: I LOOOOOOOVE my city! Nashville is one of a kind. It has that good old home feel about it. I particularly love the growth in population. Now, I know some may think I’m strange for saying that, as I’ve heard many say the opposite. Let me explain. I believe growth indicates life, evolution, progression, and transformation. When things are stagnant they become lifeless, stale, dead. Growth is part of being a living, breathing organism in the world we live in. We must learn to embrace it, as we have been equipped as human beings with a natural, innate intelligence to adapt to new situations. So, I welcome growth in my life, in Nashville, in population, new experiences, love, opportunities, good health, in my bank account lol, etc.    

JHPENTERTAINMENT: It would seem you’ve fully embraced Nashville’s Music City moniker, considering you’re a singer/songwriter, an artist with Nashville Opera and a member of the W. Crimm Singers, TSU’s Big Blue Opera Initiatives’ ensemble in residence. How vital is it to you to showcase the fact that Nashville being referred to as Music City reaches far beyond country and Americana music?

TAMICA NICOLE: Well, I would have to say I go through life relying on a phrase I heard some time ago, “life takes care of life.” All things are life, including the music we create. For me, I feel things happen in perfect timing. Regardless of the style and genre of the creative works, I think music gets to the listeners in a naturally, perfected way. Through the many avenues of technology music is able to be received all over the world. Music City, in my opinion, is more and more being known for the diversity in music from its creators. 

JHPENTERTAINMENT: As Shug, you no doubt get to wear some fabulous wardrobe pieces. Who’s the show’s costumer and do you have a favorite Shug look?

TAMICA NICOLE: The costume designer is Nia Safarr Banks. She is amazing! Her concepts and ideas for how to portray each character are so detailed and precise. My favorite Shug piece is the costume for Push the Button. It is the dress she wears at the juke joint. The colors are so vibrant and beautiful. The dress makes me feel sexy, yet it’s tasteful. Shug has style honey! Lol! And let’s not forget about the head piece Nia designed for this look. It is simply stunning.

I won’t give away too many details. The people will have to come to the show to see it. But I will say it truly is a statement look, and I am definitely going to give a Shug Avery kind of performance in it! Hope to see you there!

RAPID FIRE WITH THE COLOR PURPLE’s NETTIE, MAYA RILEY

JHPENTERTAINMENT: The last few years continue to be MAYA’S YEARS…how many show’s have you been involved in since returning to Nashville and how much are you loving this time in your life?

MAYA ANTOINETTE RILEY: Haha yes! Performing for my Nashville theatre family is my favorite thing, and I’ve had the privilege to work with all the professional theatre companies that I admired growing up. I’ve done around 10 shows (a mix of full productions and staged readings) with Nashville Repertory Theatre, Studio Tenn, Nashville Shakespeare Festival, Nashville Children’s Theatre, and I most recently did a cabaret with Street Theatre Company. I’m having a great time sharing amazing stories with the community that raised me, and I’m so excited for what’s to come!

JHPENTERTAINMENT: How would you describe Nettie?

MAYA ANTOINETTE RILEY: Nettie is a vivacious and bright person. She’s deeply curious about the world, and has been afforded the opportunity to go to school and pursue education. Mostly due to Celie’s protection and sacrifices. I think Nettie serves as a pillar of faith for Celie throughout the show. When Nettie is gone, hope seems lost. When her letters are found, hope is renewed. She is sunlight on a stormy day. And a righteous, upstanding, educated woman. Which of course, in the world of The Color Purple, could be seen as very threatening. But she remains hopeful, optimistic and brave despite this.

JHPENTERTAINMENT: Some of the show’s most beautiful moment typically involve the reading of Nettie’s letters. To that end, who’s the show’s set designer and is there a particular moment audiences should look forward to involving the set, whether one including Nettie or another moment you witness from the wings?

MAYA ANTOINETTE RILEY: Our fabulous set designer is Joonhee Park! She’s worked with the Rep before. Actually, I had the pleasure of working with her on The Cake in 2022. The set immediately immerses the audience in a rustic, grounded experience. I think the most unique aspect of the set for this production is the spareness. It forces the audience to really engage with the subject matter of the story. No frills, no distractions. Just the bones – reckoning with the full weight of the story. And what’s great about that for an actor is that it really gives you the opportunity to imagine these spaces/places and rely on your senses and emotional instincts to breathe the world to life.

JHPENTERTAINMENT: Speaking of Nettie’s letters. You, yourself are a writer, having shared some of your poetry during your recent cabaret performance. Have you been working on any new material lately and when can we expect to see or hear more from you?

MAYA ANTOINETTE RILEY: Yes! I’m trying to practice writing at least 3 times a week. I have plans to publish some of my poems, so I’ll be submitting those to literary magazines and things in the next couple months. And I’ve been doing a lot of dramatic writing as well. I hope to have a reading later this summer for a project I’ve been working on. I want to hear it aloud to help me continue editing it. Hopefully, you’ll see some of my written work onstage or on screen somewhere soon!

JHPENTERTAINMENT: What themes explored within The Color Purple do you think audiences will contemplate long after the final curtain call?

MAYA ANTOINETTE RILEY: Some of the biggest themes of The Color Purple are resilience, spirituality and love. Alice Walker has spoken in interviews and writings about Celie’s journey with faith. Not in the sense of religion, but the unnamable sense of a higher power, a higher meaning. I hope that people leave feeling empowered by Celie’s resilience and revelations. Empowered to have highs and lows, to live the full range of the human experience, to make mistakes, and love themselves throughout all that. Empowered to discover their own greatness and the sanctity of all people and things around them.

—————

Nashville Rep’s The Color Purple opens at TPAC’s Polk Theatre Friday, April 5. CLICK HERE for tickets. The beloved musical based on Alice Walker’s classic novel will run April 5-14.  In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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

Rapid Fire Q&A with Rainey Trevino, Stefanie Londino, Charlotte Woertler and Christopher Swan from National Tour of ‘Annie’; Limited Engagement at TPAC March 27-30

by

March 27 is World Theatre Day and I can’t think of any better way to celebrate than chatting with members of the cast and crew of the current National Tour of Annie, one of theatre’s most beloved and enduring musicals. As the company readied for their March 27-30 Music City tour stop at TPAC‘s Jackson Hall, I recently had a chance to pose a few questions to members of the company including: Rainey Trevino, who stars as Annie, Stefanie Londino, the show’s deliciously villainous Miss Hannigan, Sandy’s handler, Charlotte Woertler and Christopher Swan, who plays Oliver Warbucks for the latest installment of my recurring interview feature, Rapid Fire 20Q.
—————

RAPID FIRE Q&A WITH ANNIE NATIONAL TOUR CAST AND CREW

RAPID FIRE WITH ANNIE STAR, RAINEY TREVINO

JHPENTERTAINMENT: You’ve been with the current tour since it began in the fall of 2023. How did you find out you would be playing the title role in Annie?

RAINEY TREVINO: The audition process was fairly long. I sent an audition tape in March 2023 and was called to an in-person callback in NYC in the middle of June. A couple of days later I was visiting family in Washington State and my manager called to tell me that I had booked the title role. That was the best moment of my life and I think I was in shock. This has been a dream of mine as long as I can remember. I had the summer off to get everything in order like switching to homeschooling, hanging out with and saying goodbye to friends and my younger sister, and I even had to get my braces removed after only having them on for four months. Then on Labor Day we started a month of rehearsals before hitting the road.

JHPENTERTAINMENT: I love that the current National Tour of Annie is being directed by Jenn Thompson, who at age ten, appeared as Pepper in the original Broadway production of Annie. During rehearsals, did Jenn tell you and the other young actors anything about her experience with the show back then? AND…did she offer any advice on doing the work, but enjoying yourselves in the process?

RAINEY TREVINO: Jenn is such an amazing director and she has a unique perspective on the show having worked with Martin Charnin, lyricists and the original director of Annie! She shared a lot of insights and advice with the entire cast and a lot of the history of the show and history of the time period that Annie is set. She emphasized the significance of hard work and dedication while also encouraging us to have fun and find joy in the work.

JHPENTERTAINMENT: Speaking of the original Broadway production, as your time with the tour began, you received a video message from Andrea McArdle, who originated the role of Annie on Broadway back in 1977, How cool was that?

RAINEY TREVINO: The message from Andrea McArdle had me star-struck. I have listened to her Broadway version of the Annie soundtrack a million times and it was crazy that she was talking to me! I still watch the video every week when we sit in a new city to get ready to play this iconic character.

JHPENTERTAINMENT: As Annie you share the stage with several other young actors who play Annie’s pals and fellow orphans. I’d imagine you’ve all become very close, celebrating birthdays on the road and exploring cities together when there’s an off-day. Are you enjoying getting to know your fellow young cast members?

RAINEY TREVINO: The other girls on this tour are my best friends and I can’t imagine what this tour would be like without them. We are like one big family. We do almost everything together. We are so close in age 10 and 11 and we are doing this unique thing of traveling the U.S. playing in over 50 cities for more than 200 performances this year, and being with other kids who have similar experiences makes this crazy life seem more normal, and I wouldn’t have it any other way.

JHPENTERTAINMENT: Not only do you share the stage with several young actors, you also share several scenes with Seamus and Kevin, the two pups who alternate in the role of Sandy. I’d imagine they each have their own personalities. What’s your favorite thing about getting to work with the two of them.

RAINEY TREVINO: Working with the two dogs that play Sandy is a dream come true. I am an animal lover and have three dogs and so many other animals at home. Seamus and Kevin are the most professional actors on the stage and they do have very different personalities. You might even be able to see some of those differences on stage if you come to the show on different nights as they each have a slightly different take on their version of Sandy. I love that I get to rehearse their scenes when I first arrive at the theatre and get to cuddle and play with them. I have some moderately quick changes and hair fixes where I get to have bonding moments in the wings with them before heading back on stage. I really love this part of the job.

RAPID FIRE WITH ANNIE’s SANDY BY WAY OF TRAINER, CHARLOTTE WOERTLER

JHPENTERTAINMENT: First off, thanks, Charlotte for interpreting Seamus and Kevin’s answers. I understand this is your first national tour, after more than two decades of training animals for the stage. When did you first know this was the career for you and how did you yourself ‘train’ for this gig?

CHARLOTTE WOERTLER: I knew I wanted to be an animal trainer when I was about 8yrs old. I grew up in Los Angeles going to live tappings of tv shows and was enthralled by the incredible animals on I’d see on set. They always connect so strongly with the audience. To prepare for Annie I familiarized myself with the show both from an audience and backstage perspective so that I could begin breaking down the behaviors that would be necessary to deliver each scene. Next it was about acclimating both myself and our wonderful dogs to the sights and sounds of a live theater environment. 

 

JHPENTERTAINMENT: Charlotte, what are some of the challenges working with Seamus and Kevin on tour as opposed to being on a movie or TV set or at one venue for a stage show?

CHARLOTTE WOERTLER: Tour is an exciting new challenge! Both Seamus and Kevin have been so adaptive and assured in navigating this new chapter. The biggest difference is how we’re able to communicate with the dogs as trainers. In a live theater setting you don’t want to see or hear the trainer cueing the dogs so we’ve had to be creative in developing new subtle ways to work with them. We also spend lots of quality time with the actresses who play Annie. This helps to foster a strong relationship between them and allows them to step into the role of “trainer” while onstage with the dogs. They make a great team!

JHPENTERTAINMENT: Seamus is a Wheaten Terrier mix, while Kevin is a labradoodle. Aside from breed, what’s another distinct difference between these two dog stars?

CHARLOTTE WOERTLER: They each definitely have their own personality. Kevin is more of the class clown and loves to play ball while Seamus is the consummate professional and his favorite game is tug-o-war. 

JHPENTERTAINMENT: Are there particular scenes that Seamus and Kevin each seem to enjoy performing in more than others?

CHARLOTTE WOERTLER: They both really look forward to taking their bows. The whole cast has a great relationship with the dogs and they get so excited to run out on stage with all their friends. Waiting in the wings they’ll see Annie coming down the stairs for her bow and the dogs simply light up with excitement and can’t wait to get out there and soak it all in. 

JHPENTERTAINMENT: What’s your favorite aspect of life on tour with Annie?

CHARLOTTE WOERTLER: Meeting so many kind people and getting to experience so many new places has been an absolute treat. The dogs and I will go explore local sights and everyone always loves meeting Sandy.

RAPID FIRE WITH ANNIE’s MISS HANNIGAN, STEFANIE LONDINO

JHPENTERTAINMENT: You are back as Miss Hannigan after having toured with the show during its 2022 season. This time around you’ve got Rainey as Annie. How much fun are you having being back in the role and back on tour?

STEFANIE LONDINO: Yes, it’s my pleasure to be back with a whole new batch of chickens in the orphanage. I’m honored to step back into those snakeskin pumps for a second season of Annie!

JHPENTERTAINMENT: Researching to chat with you, I discovered that in addition to your work in theatre, you’re also a personal trainer. While I’d imagine the show itself is quite the workout, do you try to work in a workout during your downtime?

STEFANIE LONDINO: Yes, definitely. Workouts are a regular part of staying healthy on the road— I’m so glad for my training and time as a CPT, for all it brought into my life and all I was able to share with my clients.

JHPENTERTAINMENT: Vaudeville comedian W.C. Fields famously said ‘never work with children or animals’, yet here you are…I won’t ask the worst, but what’s the best part of working with the young actresses who play the orphans and the dogs who play Sandy?

STEFANIE LONDINO: Well I don’t know about Mr. Fields, but kids and dogs are some of the best coworkers I’ve ever had. They bring an incredible authenticity and an infectiously joyfulness to our tour family. I’m so grateful for the pups and my chickens every day!

JHPENTERTAINMENT: I think it’s safe to say audiences have a love/hate relationship with Miss Hannigan. She’s just so terrible, but it’s terribly fun to watch her. Over the years, she’s been played on stage and screen by everyone from Dorothy Loudon, Nell Carter and Jane Lynch to Carol Burnett, Kathy Bates and Cameron Diaz. How are you putting your on spin on such an enjoyably wicked character?

STEFANIE LONDINO: Oh, she’s the best. It’s an honor to stand in this line of legends and give new life to such an iconic character. I knew from the beginning that I wanted to play her real, a human, not a caricature. Her struggle is real, her rage comes from that pain. And the comedy hits harder for that balance, the dark justifying the light. It’s been humbling to have the response be that she’s deeply relatable.

JHPENTERTAINMENT: Among your adult co-stars are Christopher Swan as Oliver Warbucks, Julia Nicole Hunter as Grace Farrell, Jeffrey T. Kelly as Rooster Hannigan and Samantha Stevens as Lily St. Regis. Using one word for each, describe your co-stars. 

STEFANIE LONDINO: That’s an impossible distillation! All I can say is that I’m honored to share the stage and the road with them. I learn from them each every day. Tour life has made us family.

RAPID FIRE WITH CHRISTOPHER SWAN, OLIVER WARBUCKS IN ANNIE

JHPENTERTAINMENT: Just prior to chatting with you, I had the chance to pose a few questions to your Annie co-star, Stefanie Londino. Both you and Stefanie are on your second season of the Annie tour, so I’ll start by asking you a similar question to one I asked Stefanie. What is it about Warbucks that prompted you to come back for another National Tour? AND…how much fun are you having with Stefanie back as well?

CHRISTOPHER SWAN: Simply…it’s a great job. Singing, dancing, acting…Warbucks has it all. And as you get older in this business, you don’t get as many opportunities to stretch ALL your skills in one role like that.  And a chance to spend this much time with a character is rare. Three months in and you suddenly have a new thought or a take on moment, and that would never happen on a three week regional contract. And having a lot of principles return has really strengthened the frame of the show; given us confidence that we know it so well that we can just be in the moment as real people. Steph and I have shared a wish that Warbucks and Hannigan had more stage time together. We pretty much have separate shows. But I enjoying hearing her performance every night as I’m getting ready in the dressing room. She brings such life to this show. Really embraces this role and the audience and they absolutely love her. Glad she’s back.

JHPENTERTAINMENT: On the subject of previous roles…I gotta ask…how was it sharing the stage with Nina West during the Hairspray 20th Anniversary Tour?

CHRISTOPHER SWAN: A highlight of my touring life. Nina…Andrew Levitt in real life..is truly a magical being. I hadn’t followed Drag Race before Hairspray and was a little nervous about working opposite a popular drag queen in their first big touring role. How do you address them? Will they be demanding? But Andrew was the sweetest. Kind, humble and nervous.  He was so thrilled and honored to be playing Edna and nobody in the cast was more committed to working hard and doing their best than he was. He LOVED performing the show. We had so much fun together doing the love duet, You’re Timeless to Me; Andrew’s joy and energy leapt off the stage every night. Nina/Andrew are the real deal and I’m honored to call them a friend.

JHPENTERTAINMENT: Annie debuted as a comic strip in 1924…What’s it like to think you’re part of an American institution that’s celebrating its 100th anniversary this year?

CHRISTOPHER SWAN: Well, needless to say it’s an honor. The musical will be celebrating it’s 50th anniversary next year and love for the show is as strong as ever. I can’t think of any musical from that era that has had this kind of staying power. But you feel it every night on the road. And I’m so happy that I’m part of it.  We met Annie’s composer Charles Strouse when he saw the show in New Haven, and that really brought it all home for me. The time, the talent, the history behind this show is immeasurable.

JHPENTERTAINMENT: Obviously Warbucks has chanced a bit over the last 100 years. For one, I’ve noticed he’s no longer referred to as Daddy Warbucks, but rather, simply Warbucks. On a more personal note, are there aspects of your portrayal of Warbucks that have morphed or changed since you first stepped into the role?

CHRISTOPHER SWAN: Well, he has to earn the title of “Daddy” Warbucks, as he does over the course of the show. But when we meet him he is Oliver Warbucks, dissatisfied multi-millionaire. His journey through the show is very moving for me. He would never have predicted what ends up happening to him or how it would make him feel. Annie has a strong sense of self from the very beginning, but Warbucks changes. He doesn’t really know who he is until he meets Annie. And working on this role hasn’t actually been a straight, steady line. It’s strangely cyclical. Some weeks he’s the gruff business man who fights against his own feelings and then there’s some weeks where I find he’s more eager to change but doesn’t know how. It’s probably only a subtle difference that may not be noticed by most, but for me it helps keep my performance fresh.

JHPENTERTAINMENT: What theme, idea or sentiment seen within Annie do you hope audiences reflect on long after seeing the show?

CHRISTOPHER SWAN: There’s so many wonderful elements to Annie. I would say, pick your favorite. Family, openness, optimism, perseverance, love. And cooperation. Whether it’s political cooperation in FDR and Warbucks working together, or Warbucks’ staff all pitching in to help Annie. Look for the helpers in Annie; they’re there.

—————

The National Tour of Annie begins its Nashville tour dates on Wednesday, March 27 with a 7:30p.m. curtain at TPAC’s Jackson Hall and continues with 7:30p.m. performances Thursday, Friday and Saturday. March 28-30. On Saturday, March 30, there’s also a 2p.m. matinee. Tickets for Annie at TPAC begin at $50.90. CLICK HERE to purchase tickets.

For more information on Annie, or to catch the show in another city during the tour, CLICK HERE. Upcoming tour stops include: Pensacola, FL, Orange, TX, New Orleans, LA, Sacramento, CA, Bozeman, MT, Casper, WY and more. You can also follow the tour on their official socials: Instagram, X and Facebook.

Following Annie, TPAC plays host to a full slate of entertainment for the whole family including Nashville Opera’s upcoming performance of The Magic Flute, Nashville Repertory Theatre’s The Color Purple and Nashville Ballet’s Romeo and Juliet. TPAC will also serve as the venue for a number of acts hitting Music City as part of Nashville Comedy Festival. April will also see TPAC hosting three Arts Adventure youth workshops: one featuring Moana (for ages 7-12), one featuring Beetlejuice (ages 13-17) and the third, an all ages (9-17) titled Let’s Dance, featuring choreography from shows in this season’s Broadway at TPAC series. Speaking of Broadway at TPAC, next up is Disney’s Frozen, taking to the stage at Jackson Hall May 7-18. For further details on these and more entertainment headed to TPAC, CLICK HERE or follow TPAC on Instagram, X, YouTube and Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Rapid Fire 20Q with ‘Variety on Main’ co-hosts Mandy Barnett and Monica Ramey; monthly showcase of seasoned performers and newcomers continues at Franklin Theatre Monday, March 18

by

Variety on Main, a new concert event happening on the third Monday of each month at The Franklin Theatre (419 Main Street, Franklin, TN 37064) showcases seasoned performers as well as rising talent. Co-hosted and co-created by Mandy Barnett and Monica Ramey, two truly gifted vocalists, as the event title suggests, Variety on Main showcases and celebrates a variety of not only music genres, but a wide-range of talent. The upcoming March 18 Variety on Main at The Franklin Theatre continues that concept by including performances by Carlene Carter, Becky Isaacs Bowman, The Rakish Paddys, Gretchen Peters, Blue Mother Tupelo and featuring Pat Coil and the Mainstays, as well as the show’s hosts, Mandy Barnett and Monica Ramey. Having attended their inaugural Variety on Main back in January, and witnessing first-hand the wide array of talent these two have brought together, I knew I wanted to chat with Mandy and Monica for the latest installment of my recurring interview feature, Rapid Fire 20 Q.

—————

RAPID FIRE 20 Q WITH VARIETY ON MAIN CO-HOSTS and CO-CREATORS MANDY BARNETT AND MONICA RAMEY

RAPID FIRE WITH VARIETY ON MAIN’s MANDY BARNETT

JHPENTERTAINMENT: How would you describe Variety on Main?

MANDY BARNETT: It is a multi-genre show at the historic Franklin Theatre, there are two sets, a house band made up of incredible musicians, the artists range from seasoned pros to up and coming talent, the common thread, is quality.  

JHPENTERTAINMENT: Before we get into Variety on Main, let’s give my readers a little refresher…Early in your career, you performed at Dollywood, what’s your favorite memory of those early days as a young performer?

MANDY BARNETT: Some of my earlier days I performed at various variety shows, from the WNOX Tennessee Barndance, Archie Campbell’s Hee Haw Village and Dollywood.  They were all located in East Tennessee.  Some of my favorite memories of Dollywood are connected to Dolly’s family, they all performed there.  I met so many nice people and it was a great experience to get to perform some shows with Dolly and with her family.  

JHPENTERTAINMENT: Of course most folks know that you garnered critical acclaim and a huge fanbase when you starred as Patsy Cline in the debut production of Always…Patsy Cline, at the iconic Ryman Auditorium. What do you see as the most gratifying aspect of your time with that show?

MANDY BARNETT: This year marks my 30th anniversary since I started doing Always…Patsy Cline, which was among the first jukebox musicals – a truly life changing endeavor. Having Patsy’s family and peers play a significant role in my life has been incredibly special.  It’s astonishing how someone i never knew or met could so profoundly influence the direction of my life in countless positive ways.  Patsy Cline is iconic and to portray her at the Ryman Auditorium, where she herself performed, was an experience full of meaning. This role and the connections it fostered have been the most gratifying aspects of my time with the show.  

JHPENTERTAINMENT: Industry insiders and fans agree, you are frequently referred to as one of the most gifted vocalist around. When you hear such praise, what goes through your mind?

MANDY BARNETT: This recognition means everything to me, especially considering the internal struggles I faced early in my career.  I often agonized over whether to pursue the path of becoming a commercial commodity or to focus solely on honing my craft and collaborating with my heroes.  Ultimately i chose the latter aiming to reach a point in my life where i could look back with satisfaction and no regrets, regardless of the outcome.  This affirmation validates that decision, and for that, I am truly thankful.  

JHPENTERTAINMENT: How did Variety on Main come about?   

MANDY BARNETT: The concept of Variety On Main emerged from discussions with both Monica Ramey and the Franklin Theatre about some upcoming performances for my concerts which I had already been doing for quite some time. During our brainstorming sessions we toyed with the idea of creating a versatile Monday night show that could feature a broad spectrum of musical talent from an exceptional jazz trumpeter to a high energy bluegrass band.  The driving force behind this idea was my personal desire for diversity in music. I find myself quickly losing interest when the music is too monotonous. We wanted to craft an energetic and dynamic experience that would keep the audience engaged and open to discovering music genres they previously might not have explored. The goal was to create a space where every performance offers a new color and a fresh perspective ensuring an exciting, varied musical performance for our audience.  

JHPENTERTAINMENT: Having attended the first Variety On Main myself, I was impressed with the true variety of the talent. I love that the lineups for Variety on Main truly live up to the idea of ‘variety’, not only representing different genres, but also a true variety of talents. How important was that to you in planning these productions? 

MANDY BARNETT:  My aim was to create a platform that highlights the incredible range and depth of talent across different musical landscapes.  It’s about creating moments where every performance is a discovery, an opportunity to be moved, inspired and surprised. 

I deeply understand the significance of providing opportunities to talent who might not otherwise have the chance to shine on stage.  Looking back at my own journey as a singer, I recognize the immense impact that working with professionals had on my development.  It’s about creating a platform where both established artists and emerging talents, including children with exceptional abilities, can come together and showcase their skills.  This inclusive approach not only makes for a a better show but also provides invaluable, potentially life-changing experiences for someone who is developing their sound.  

JHPENTERTAINMENT: If anyone knows of someone who might want the chance to be part of an upcoming Variety On Main, how can they contact you and Monica for consideration?  

MANDY BARNETT: There is a talent submission form on our site. 

Photo by Cyndi Hornsby (Courtesy Variety on Main)

JHPENTERTAINMENT: As co-host and co-creator of Variety on Main, you share the stage with Monica Ramey. 

MANDY BARNETT:  We have a long history, similar goals and we have different strengths that make us a really great team. Monica is a seasoned performer, she brings elegance and polish to every performance.  

JHPENTERTAINMENT: Speaking of collaborating with Monica…any chance audiences might get a chance to hear the two of you duetting onstage, or on record?

MANDY BARNETT: We have definitely talked about it.  I’m sure as we hit our stride things will happen organically.  

JHPENTERTAINMENT: In addition to your monthly Variety on Main shows and frequent performances at The Grand Ole Opry, on April 22, you’re among a stellar group of performers honoring Patsy Cline as part of Walkin’ After Midnight: The Music of Patsy Cline at the historic Ryman Auditorium. What can you tell me about that event? 

MANDY BARNETT: I’m really excited about this show, they have put together some amazing and diverse artists.  At this point that’s all I know, other than I think it’s going to be a very special night! 

RAPID FIRE WITH VARIETY ON MAIN’s MONICA RAMEY

JHPENTERTAINMENT: Collaborating with Mandy Barnett as co-host and co-creator of Variety on Main seems to be the perfect partnership. Not only are you both gifted vocalist, but beyond that, you grew up in Francesville, a small town in Indiana, while she grew up in equally rural Crossville, TN. Continuing the parallels, you both began performing at an early age. What was the first time you performed for a sizable audiences and do you remember much about it?

MONICA RAMEY: I remember singing for about 3000 people at a Farm Bureau convention in Indianapolis when I was around 4 years old. The details are foggy, but I remember getting to go to my favorite ice cream shop afterwards.  That was better than money for me at that age!

JHPENTERTAINMENT: Have you always been drawn to jazz music? AND…who were some of your earliest jazz influences?

MONICA RAMEY: I was always drawn to the Great American Songbook.  I listened to a lot of broadway, popular recordings and jazz standards as a kid.  My earliest musical influences were Barbra Streisand, Lena Horne and Rosemary Clooney. 

JHPENTERTAINMENT: From what I understand, after studying music performances at Indiana State University, you eventually moved to Los Angeles where you interned for NARAS Foundation. What can you tell me about that period in your life.

MONICA RAMEY: Interning for NARAS was a great learning and cultural experience for me.  It was just a few months during college but the people who worked there invited me to everything!  I heard so much great music and met people for whom I deeply respected.

JHPENTERTAINMENT: From LA to Nashville nearly twenty-five years ago. What prompted the move to Music City?

MONICA RAMEY: I was supposed to have moved to LA after college, but I actually was encouraged to give Nashville a try.  I love LA and I learned a lot – but I’m glad I made the decision to move to Nashville for sure.

JHPENTERTAINMENT: When folks talk about Mandy, inevitably Patsy Cline makes her way into the conversation. When folks talk about you, the late, great jazz pianist Beegie Adair is frequently mentioned. How did your association with Beegie come to be and what’s among your most cherished memories of collaborating with her?

MONICA RAMEY: Beegie was family.  We both wore a lot of hats for each other and she was, without question, the most influential and supportive person I’ve ever known.  I remember right before we were supposed to go on stage for a show in NYC, she turned around to me and said “this is just the beginning for you” and then walked out on the stage.  She was full of kindness and grace and those  moments stick with me like glue.  She always had a lot of faith in me and I miss her terribly.

JHPENTERTAINMENT: On the subject of collaborating, when did you and Mandy first toy with the idea of collaborating to create and co-host Variety on Main?

MONICA RAMEY: I was working with the Franklin Theatre to develop a couple of other projects and telling Mandy about them one day.  She asked “how about a variety show?”  As daunting as that sounded, I loved the idea.  And, she was forward thinking enough to envision how creative and successful it could be.  She was right!

JHPENTERTAINMENT: Having attended the first Variety on Main, I was immediately struck by how perfect the venue is. Was it a no-brainer that that’s where these shows would take place?

MONICA RAMEY: It sure was. The Franklin Theatre is a beautiful, historic theatre and the crew we work with there is amazing.  I’m proud to work with them and to support them.

JHPENTERTAINMENT: Aside from the monthly Variety on Main shows, you’re a frequent guest artist at Rudy’s Jazz Room. I have to tell you, the last time I saw you there, I had the best time. When’s your next gig there and are there any surprises you can share with me about what to expect?

MONICA RAMEY: Oh, thank you!  That means a lot to me.  I’ll be back there on March 29th at 5:30pm.  I sing the Great American Songbook and jazz standards and the only surprises will be guests who might possibly be invited to join us on stage for a song or two.   

Photo by Cyndi Hornsby (Courtesy Variety on Main)

JHPENTERTAINMENT: In addition to you and Mandy co-hosting each Variety on Main event, you both also perform a number or two. To that end, the ‘house band’ for Variety on Main is Pat Coil and the Mainstays. How much fun are you having not only performing alongside them, but also listening to them from the wings while they back many of the guests artists?

MONICA RAMEY: Oh my gosh – I’m discovering a lot of new talent just like the audience, so my jaw is on the floor most of the show.  Working with Pat Coil, Sam Hunter, Brian Allen and Larry Aberman is an honor. The energy and joy around the show is very real.

JHPENTERTAINMENT: What do you hope audiences come away remembering after having attended a Variety on Main event?

MONICA RAMEY:  I hope the audience not only leaves gratefully discovering new talent, but also the joy of being entertained and forgetting about the outside world for a couple of hours on a Monday night.  It means a lot to see folks already committing to attending the shows regularly. 

—————

As mentioned earlier, the Monday, March 18 Variety on Main features performances by Carlene Carter, Becky Isaacs Bowman, The Rakish Paddys, Gretchen Peters, Blue Mother Tupelo, Pat Coil and the Mainstays and of course the show’s hosts and creators, Mandy Barnett and Monica Ramey. Door open one hour before the 7:30p.m. start time. Tickets for Variety on Main are as follows: Cabaret seating (cocktail tables at the front of the stage) are $75/each, Premium Classic (Rows A-D) are $70/each, Classic and Balcony are $65/each. At the time this interview went live, there were only a handful of seats available at each price level. CLICK HERE for tickets.

Can’t make Monday’s show? On Monday, April 15, Mandy Barnett and Monica Ramey and Variety on Main’s house band, Pat Coil and the Mainstays welcome Malpass Brothers, Gail Davies, Grey Delise and Bennett Hall Band. CLICK HERE for tickets. You can also follow Variety on Main online or on their Facebook, Instagram and Threads socials for the latest information, updates on upcoming shows and lineups and more.

If you’ve enjoyed this latest Rapid Fire 20 Q, be sure and CLICK HERE to check out previous conversations. 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, Twitter and Facebook. Till then, #GoSeeTheShow!

Rapid Fire 20Q with Cast and Creatives of ‘Mrs. Krishnan’s Party’; coming to TPAC March 6-9

by

From Wednesday, March 6 thru Friday, March 9, Nashville theatre audiences are invited to a party like no other when the National Tour of Mrs. Krishnan’s Party comes to TPAC, transforming the Johnson Theatre into the backroom of Zina Krishnan’s dairy/convenience store, where we find her tenant, James, planning a party even though his landlady isn’t too keen on the idea.

Directed by Justin Lewis, who also co-wrote the play alongside Jacob Rajan, founding members of New Zealand’s hugely popular Indian Ink Theatre Company, the show stars Kalyani Nagarajan and Justin Te Honihana Pokaihau Rogers. Mrs. Krishnan’s Party is an immersive night of theatre likely unlike anything audiences have experienced as the intimate setting of venues like the Johnson Theatre foster the illusion that you’re not just watching the action unfold, but you are a guest at Mrs. Krishnan’s Party yourself.

Just last week, I had the opportunity to pose a few questions to the cast and creators for my latest Rapid Fire 20Q. What follow are those conversations:

——————–

RAPID FIRE 20Q WITH CAST AND CREATIVES OF MRS. KRISHNAN’S PARTY

RAPID FIRE WITH MRS. KRISHNAN’S PARTY CO-WRITER, JACOB RAJAN

JHPENTERTAINMENT: In researching to chat with you and other creatives from Mrs. Krishnan’s Party, I learned that this show is a sequel of sorts to your hugely successful 1997 production, Krishnan’s Dairy. What was it about that show and it’s huge following that sparked the idea of expanding the Krishnan Universe to Mrs. Krishnan’s Party?

JACOB RAJAN:  When you live with a character for 25 years, as we have with Zina Krishnan, it seems such a shame to throw her away. And all it takes is a simple question to unlock infinite possibilities: “I wonder what Zina’s up to now?”

JHPENTERTAINMENT: I understand the ‘party’ in Mrs. Krishnan’s Party refers to Onam. What is it about this celebration that lends itself to the story you’re telling?

JACOB RAJAN: Onam is a harvest festival from Kerala in South India – where I’m originally from.  Inherent to harvest is the idea of death and rebirth.  In our story we have characters dealing with major life change. Any change in your life requires you to allow things to die in order for something new to emerge. It’s a hard thing to do – as Mrs. Krishnan will tell you.

JHPENTERTAINMENT: You created this show alongside your frequent collaborator, Justin Lewis, who also serves as the show’s director as well as your cofounder at India Ink Theatre Company. What’s the secret to your long partnership?

JACOB RAJAN: We have very complimentary skill sets. Justin is a very deep thinker, fantastic at structure (he could’ve been an architect) as well as a brilliant artistic director with a great head for business. I’m extremely shallow and will find humour in anything. As the son of Indian immigrants I was supposed to be a doctor so I bring a sort of childlike wonder to the fact that I’m even allowed to do this. 

JHPENTERTAINMENT: Food is such an integral part of every culture, but some might argue, even more so for those of East Asian descent. To that end, during the course of the play, food is actually prepared and shared with the audience. How important to you was including that aspect of the show?

JACOB RAJAN: The food is a core aspect to both the story and the experience for the audience. There’s something so beautifully sensuous about onions frying and rice on the boil. A nightmare for the actors to deal with but beautiful nonetheless.

JHPENTERTAINMENT: I’m about to chat with you two cast members and your co-writer/director. Using only one word, describe each of them.

JACOB RAJAN: Kalyani Nagarajan: Mercurial    Justin Rogers:  Joyous       

Justin Lewis: Visionary

RAPID FIRE WITH MRS. KRISHNAN’s PARTY‘s ZINA KRISHNAN, KALYANI NAGARAJAN 

JHPENTERTAINMENT: What can you tell me about Mrs. Krishnan, the role you play in Mrs. Krishnan’s Party?

KALYANI NAGARAJAN: She is such a joy to play. Mrs K has been running her own convenience store for over 20 years; she is a really hard-working, loving South Indian Matriarch who is no-nonsense but is in a moment of flux where she is looking back at her life and releasing it may be time for a change. She is the perfect challenge against James, who we see as a free spirit and takes life much less seriously. The beauty of Mrs K, and playing her, is that she is a strong immigrant woman who is in charge in her domain; often, we see these characters in lower status or as side characters, but in this story, she is the boss and that is just so empowering. She is soft, and she loves love and ultimately, that is what this story is about. 

JHPENTERTAINMENT: For those not familiar, how would you describe Mrs. Krishnan’s Party?

KALYANI NAGARAJAN: An extravaganza of the senses! It’s a story about change between the generations; when we ask ourselves, do we stick with the life we live, or do we go into the discomfort and change for the better? It is a totally immersive piece of theatre, where your sense of touch, smell, and taste are all inspired. I’m biased but I think this show is absolute magic on stage. It’s raw, and it truly is the definition of live theatre. 

JHPENTERTAINMENT: Aside from the audience, that becomes characters in the show through the show’s unique immersive staging, you share the stage with Justin Rogers. What do you enjoy most about Justin as a scene partner?

KALYANI NAGARAJAN: Nothing. Ha! No, of course not – it is an honour to act alongside someone I have known for so long! I went to drama school with Justin but we weren’t friends back then ha! I think Justin brings such a sense of joy and play and freedom to how he acts, and there is a real connection when we play together; he is one of my favourite people to act with because there is no sense of upstaging one another, we work in a beautiful harmony and want to see the other one win! 

JHPENTERTAINMENT: In addition to your stage career, you’re also known for your role in the tv series Raised by Refugees where you played the Mom of a young South Asian boy whose parents immigrated to New Zealand. You yourself share a bit of a similar backstory, in that your parents immigrated to New Zealand, right?

KALYANI NAGARAJAN: Ha Yes! My parents immigrated, and those characters had to seek refuge, which is a totally different scenario, but I guess in terms of wanting to find belonging and a place to call home, there are similarities. My parents have been in New Zealand for 40 years now, and I was born and raised here, and it comes with it’s trials and tribulations. Recently, I think my parents have been feeling moments of regret for taking us out of our home country because there a things you lose culturally. that first-generation verses immigrant storyline is so tumultuous but also beautiful – I’m actually writing a film and a TV show about it because these stories need to be told! 

JHPENTERTAINMENT: On the subject of your acting career, you studied at Toi Whakaari: NZ Drama School. Were you there by chance during Dame Miranda Harcourt’s time as Head of the Acting Department?

KALYANI NAGARAJAN: We were lucky enough to have her for maybe about two weeks! I think her acting methodology is one of the greats, and I still use her technique to this day. I may have even stolen a few things when I teach my students, hehe! Sorry! But I always give Miranda credit!  A lesson I carry with me from Toi is that this career is not a solo career, you need people, you need your artistic family to keep you going, to keep you inspired, to work along side. 

RAPID FIRE WITH MRS. KRISHNAN’s PARTY’s JAMES, JUSTIN TE HONIHANI POKAIHAU ROGERS

JHPENTERTAINMENT: I just chatted with your Mrs. Krishnan’s Party costar, Kalyani Nagarajan, so I’ll start by asking…what’s your favorite aspect of sharing the stage with her?

JUSTIN TE HONIHANA POKAIHAU ROGERS: Kal and I trained together at the same drama school- I still remember meeting her for the first time during our audition weekend. That was 12 years ago now and at the time I couldn’t have imagined we’d be travelling the world together with such a fun show! I just love how life is like that, you never know the magnitude of such little moments. Kal is exceptionally talented and I’m constantly learning from her, it’s a treat to work with someone you once studied with because you keep that student mind set and helps us constantly grow.

JHPENTERTAINMENT: Now, on to your role in the show…who is James to you?

JUSTIN TE HONIHANA POKAIHAU ROGERS: James is a connector. He loves people, he loves fun, he wants everyone to have a great time. He’s easily distracted because he’s always looking for the spark out there! That also means he can miss some important things… He’s afraid of failure and struggles with self esteem, but these are things he faces during the course of the show and for that reason I think James is a hero.

JHPENTERTAINMENT: From what I understand, you’ve been with the show since its 2019 New Zealand premiere. How did you hear of the show and what made you want to audition?

JUSTIN TE HONIHANA POKAIHAU ROGERS: Kal got me the audition! It was developed from a solo show she created at drama school, they put a casting call out and I was grateful that Kal put me forward.

JHPENTERTAINMENT: In preparing to chat with you, I discovered that just prior to Mrs. Krishnan’s Party, you starred in Shortland Street: The Musical a stage parody of the beloved long-lasting primetime sudser, Shortland Street. My dear friend Susannah Devereux was one of the stars of the series back in the 90s. You two share an agent in Karen Kay from what I understand. That said, what’s something from your time in the musical that you’ve taken to heart and you think of often?

JUSTIN TE HONIHANA POKAIHAU ROGERS: That show was based on the 90’s cast, so your friend’s character may have featured! Also shout out to my agent, Karen Kay Management, incredible team and I love them. Yes! That show was so silly and it lovingly poked fun at the soap opera- but my biggest learning in that was that we can’t just make fun of a thing or comment on a story or character. All our work has to be rooted in truth. It can be funny, sure, but at its core we must take all our work seriously. So in the show I had to deliver a toy baby during a musical number and it was VERY silly- but you can’t perform it that way. You really have to deliver that baby! That lesson has stuck with me in all my work since. Don’t play at being a funny actor pretending to deliver a baby to get a laugh. You really have to deliver the baby! And it might get a laugh, but that’s none of my business!

JHPENTERTAINMENT: As mentioned earlier, Mrs. Krishnan’s Party premiered in New Zealand, and is now enjoying a North American Tour. What’s been your favorite aspect of life on the road thus far?

JUSTIN TE HONIHANA POKAIHAU ROGERS: People! Meeting people on the road is the best. There’s a great line in one of my favourite films Before Sunrise where the character says the meaning of life lies in the little interactions. The space between two strangers when they smile at each other or chat briefly. Most of the people we meet on the road we’ll never see again in our lives. Yet we still whole heartedly connect. Or just buy coffee from them. But being with that person, smiling or laughing together for a second suddenly becomes deeply profound when you reflect on the fact that you won’t see them again. That tiny interaction suddenly becomes the most important moment in the universe. And I get to have those interactions over and over again and that is awesome.

RAPID FIRE WITH MRS. KRISHNAN’s PARTY’s CO-WRITER/DIRECTOR, JUSTIN LEWIS

JHPENTERTAINMENT: Earlier, I chatted with your co-writer and frequent collaborator, Jacob Rajan. So, let’s start our conversation with me asking you your take on the first question I asked him…What was it about that show and it’s huge following that sparked the idea of expanding the Krishnan Universe to Mrs. Krishnan’s Party?

JUSTIN LEWIS: It was such an exciting and beautiful idea to pick up the life of one of the heroes of that show 20 years later.  Zina Krishnan was a character we knew well as a young woman, to now imagine her as middle aged felt rich. It was probably no accident that this was the same journey we’d gone through ourselves.

JHPENTERTAINMENT: While there’s a basic through-line in the plot and set dialogue to get us there, I’d imagine incorporating the live audience in such an immersive way might lead to potential derailment from time to time. As the show’s director, how do you guide your actors to stay on task?

JUSTIN LEWIS:  There’s an improvisation/storytelling exercise where someone prompts the improvisor to advance the story or extend the moment – go forward or go wider. A great story needs a balance of both,  I ask the performers to tune into this balance when engaging directly with the audience. And there is always a strong structure to rely on – there’s a very tight script and even the improvs with the audience have a structure to them.

JHPENTERTAINMENT: Speaking of, what’s the funniest unscripted moment you recall?

JUSTIN LEWIS: There’s a section in the play where Mrs Krishnan gets audiences members to help her open she cans.  It’s hilarious and slightly incredible how many young men don’t know how to use a can opener!   

JHPENTERTAINMENT: Alright now! I feel attacked, but in my defense, I’m a leftie and most can openers are created for right-handed people…but I digress. Back to the show…While your New Zealand audiences now have a quarter-century relationship in the Krishnan world, we stateside audience members are being introduced by way of Mrs. Krishnan’s Party. Are there subtle nods to the original work, Krishnan’s Dairy that we might be missing?

JUSTIN LEWIS: There’s nothing that you will be missing.  We’ve worked carefully to structure things so no prior knowledge is required.  The earlier show gives us as writers a  rich backstory to mine but as with any good drama the only backstory that makes it in is that which is relevant to the current action.

JHPENTERTAINMENT: What do you hope audiences remember of their time at Mrs. Krishnan’s Party?

JUSTIN LEWIS: That they’ll have had fun, experienced joy, connection and community – and some really tasty food!

——————–

For the Music City leg of the tour, Mrs. Krishnan’s Party will debut in Nashville at the Johnson Theatre at TPAC with 7:30p.m. performances on Wednesday and Thursday, March 6 & 7. Mrs. Krishnan’s Party will continue its Nashville run over the weekend with an 8p.m. curtain on Friday, March 8, a 2p.m. matinee on Saturday, March 9 and a final area performance at 8p.m. on the evening of March 9. CLICK HERE for tickets or more information.

Following the Nashville dates, Mrs. Krishnan’s Party will continue its North American Tour with shows in Toronto, Canada at TO LIVE March 13-24, in Boston, Massachusetts at Emerson College‘s Paramount Center‘s Liebergott Black Box Theatre March 27-April 7 and Oregon Statue University’s PRAx in Corvallis, Oregon April 11-14. Click any of the above hyperlinks for tickets to those specific performances. You can also follow Mrs. Krishnan’s Party and all the other shows from Indian Ink Theatre Company by checking them out HERE. , or following them on Facebook, Instagram and Linkedin.

 

Next up for TPAC, yet another Music City debut as they continue their Broadway at TPAC season with Beetlejuice with performances March 12 thru 17. CLICK HERE for tickets or more info. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

 

 

 

 

 

 

 

Rapid Fire 20Q with Cast of ‘The 39 Steps’; Opening at Playhouse 615 February 16

by

Based upon the 1915 adventure novel by John Buchanan, The 39 Steps garnered a wider audience in 1935 when Alfred Hitchcock directed his mystery thriller variation of the story. The plot and presentation underwent a decidedly comedic interpretation in the mid-90s when Simon Corble and Nobby Dimon wrote a stage play based on the work premiered. In 2005, playwright Patrick Barlow further adapted the stage play. In the current iteration of the play, every single character from Hitchcock’s film is played by a four-member cast, and comedy ensues. That adaptation of The 39 Steps is opening Friday, February 16 at Playhouse  615 (11920 Lebanon Rd, Mt. Juliet, TN) Directed by Diane Bearden-Enright, Playhouse 615‘s The 39 Steps stars Philip David Black, Erin Grace Bailey, Alyssa Borg and Barclay Randall.

As the cast was preparing for opening night, I recently had the chance to chat with them for my latest Rapid Fire 20Q. What follows are those conversations.

———-

RAPID FIRE 20Q WITH CAST OF PLAYHOUSE 615’s THE 39 STEPS
RAPID FIRE WITH THE 39 STEPS’ CLOWN 2, ALYSSA BORG

JHPENTERTAINMENT: I understand this is your first time on stage at Playhouse 615. What’s the experience like so far?
ALYSSA BORG: Working with Playhouse 615 for The 39 Steps has been a hoot! From the moment I stepped into the theater for auditions, each rehearsal has been filled with laughs. For me, Playhouse 615 has proven to be the epitome of community theater in the best possible way – performers, technicians, designers, all working together to create this magical and ephemeral beast (a play) all because they love the art of theater.

JHPENTERTAINMENT: You’re playing Clown 2…what’s your favorite aspect of the role?
ALYSSA BORG: Haha, well, first, I love that I’m Clown #2 – in my mind there was obviously some sort of placement competition in the clowning community, like landing second chair in an orchestra. And having worked as a paid mime long, long ago, I love the physicality of this kind of comedy, plus it’s a fun acting challenge to play so many different characters with different accents.

JHPENTERTAINMENT: Speaking of the different characters, of the multiple roles you play, do you have a favorite?
ALYSSA BORG: Mr. McGarriggle, hands down. Drunk. Scottish. Lots of one word responses. What’s not to love?

JHPENTERTAINMENT: What’s the most challenging aspect of portraying multiple roles in a single show?
ALYSSA BORG: Remembering all the costume changes.

JHPENTERTAINMENT: As Clown 2, you share the stage with Barclay Randall, who’s playing Clown 1. I’m about to chat with Barclay, so I gotta know…How is Barclay as a scene partner?
ALYSSA BORG: Oh, Barclay. He’s Clown #1 for a reason. Also I will say, I now know too much about Barclay’s love of breasts – mainly the pair he wears in the show.

RAPID FIRE WITH BARCLAY RANDALL, THE 39 STEPS’ CLOWN 1
JHPENTERTAINMENT: When you tell folks you’re playing Clown 1 in The 39 Steps, how do you describe your role(s) in the show?
BARCLAY RANDALL: First off, when I tell my friends I’m playing a character called “Clown 1”, they respond, “Ah. Typecasting.” Then I explain it’s actually something like 15 different characters who are all goofy, fun, farcical caricatures. Again, “Ah. Typecasting.”

JHPENTERTAINMENT: Just prior to chatting with you, I spoke with Alyssa Borg and asked her about sharing the stage with you…so I’ll return the favor. How is Alyssa as a scene partner?
BARCLAY RANDALL: Wonderful! Alyssa’s trained in improv and has come up with some great bits during rehearsals that take the comedy to a higher level. Or maybe it’s a lower level? Whichever, it’s a funnier level.

JHPENTERTAINMENT: Playhouse 615’s The 39 Steps is being directed by Diane Bearden-Enright. Like myself, you’ve known Diane for years. What’s she like as a director?
BARCLAY RANDALL: She’s a very funny lady. Always has been. At least in the mmm-mmm-mmm decades I’ve known her. And she understands comedy. She can find the beats in a scene. She can find the funny in a scene. And she’s making us doing ridiculous things!  I love her!

JHPENTERTAINMENT: Mr. Memory is among the characters you portray in The 39 Steps. Staying on theme with his talent of remembering things…what’s the most random piece of trivia that takes up space in your brain?
BARCLAY RANDALL: The second European explorer to step foot into what is now Tennessee—the second, mind you, not the first, who was Hernando DeSoto—but the second, was named Juan Pardo. That’s the one thing I remember from Tennessee History in college at MTSU.

JHPENTERTAINMENT: Can we just talk about the train scene in which you play…what?…three or four characters within a matter of seconds? How much fun are you having with that?
BARCLAY RANDALL: The train scene is a great distillation of the entire show: lightning-paced and physical and over-the-top. In that scene, I get to play a foppish underwear salesman, an adolescent boy, an old lady, and a Scottish cop, all in the span of a couple of minutes. I think if I keep working it, and don’t die, it’ll be pretty funny.

RAPID FIRE WITH ERIN GRACE BAILEY, THE 39 STEPS’ ANNABELLA, MARGARET & PAMELA

JHPENTERTAINMENT: To start things off can you describe each of the three characters you play in Playhouse 615’s The 39 Steps using only one word for each of them?
ERIN GRACE BAILEY: Margaret – Sugar, Annabella – Spice, Pamela – Everything Nice (I know that’s two words, but it was too good of a quip not to use.)

JHPENTERTAINMENT: Early on, Annabella’s death scene is typically played with some fun almost slapstick physicality. In fact, the entire show is resplendent with over-the-top laughter inducing action. How much fun are you and your cast mates having with that aspect of the show?
ERIN GRACE BAILEY: It’s been an amazing and really refreshing experience. I think most actors would agree that high comedy like this is a muscle that most of us don’t get to stretch very often, so I really try to appreciate it when the opportunity arrives. It’s so wonderful to be able to walk into a rehearsal room and truly just “play.”

JHPENTERTAINMENT: If you had to pick…and I guess since I’m asking, you do…of the three characters you’re playing, who’s your favorite and why?
ERIN GRACE BAILEY: Each character is pretty different, which is a fun challenge, especially since a lot of female comedy characters tend to get bogged down in being one thing. Personally, I think I resonate the most with Pamela. Some of that’s probably because she appears in the show longer than the other two characters, so she has a little more depth. She’s got a tough exterior, but deep down, she’s a hopeless romantic which gives me a lot to play with for her.

JHPENTERTAINMENT: I love that the play is peppered with nods to Alfred Hitchcock, who, of course, directed the 1935 film adaptation loosely based on the original 1915 adventure novel. Prior to being cast, were you familiar with the show and its history?
ERIN GRACE BAILEY: Not thoroughly. I love old movies and had heard of it, but I didn’t have a lot of background knowledge. I have watched it since being cast, of course. It’s actually quite shocking how much of the play’s script parallels with the film. It really proves how much context affects how you read dialogue. Aside from the text though, it’s been fun explaining this show to those who haven’t heard of it. When they hear the name Alfred Hitchcock, they usually get pretty excited.

JHPENTERTAINMENT: Like the Hitchcock film, the play takes place in and around London in 1935. Had you lived in that time, what do you think you’d have enjoyed most about the era?
ERIN GRACE BAILEY: The theatre! I think we’ve discussed before how much I love British comedy. Noel Coward‘s one of my favorite playwrights, and he was really starting to make a name for himself around this time. I would love to go back and see one of his shows. I often think about how exciting it must have been to get dressed up and go out and see a show, especially before television.

RAPID FIRE WITH PHILIP DAVID BLACK, THE 39 STEPS’ RICHARD HANNAY

JHPENTERTAINMENT: A quick peek at your show bio reveals that while you were recently an understudy in another area production, being cast as Richard Hannay in Playhouse 615’s The 39 Steps marks your Tennessee premiere on-stage. How has the experience been thus far?

PHILIP DAVID BLACK: It’s been great to act again. I used to perform a good bit right out of college, but it’s been a minute. Also, almost all of the acting work I did in times past involved travel to parts of the country where I had no family or friends, so it’s a special treat to get to play this part and have loved ones actually close enough that I can reasonably guilt trip them into attendance.

JHPENTERTAINMENT: Who is Richard Hannay to you?
PHILIP DAVID BLACK: He’s a lost soul. He’s a Brit that has been living abroad in Canada and has only recently returned to London. So as our story starts, he’s pretty isolated and out of sorts. Even though this story is set in the 1930s, I feel like he’s very relatable to today, when a lot of us find ourselves both isolated and a bit depressed. But he’s about to have an awfully big adventure.

JHPENTERTAINMENT: As the show’s title indicates, much of the action revolves around a mysterious organization known as The 39 Steps. IF you were to found a mysterious organization of your own, what would it be called and what would its purpose be?

PHILIP DAVID BLACK: If I were to found a mysterious organization, I would never reveal its secrets. However, assuming I am too lazy to do so and/or I am not simply covering for a much more sinister organization I have in fact already started, let’s pretend it would be called the Brotherhood of Suspense. It would be a secret society of people who believe suspenders are better than belts and who signal their allegiance to each other with strange codes and seemingly insignificant hand gestures. We would exist to bring down the belt industry. And we would succeed.

JHPENTERTAINMENT: Give me a plot summary in ten words or less.
PHILIP DAVID BLACK: Four actors. One hundred and fifty characters. Comedic adventure ensues.

JHPENTERTAINMENT: What do you hope audiences take away from The 39 Steps?
PHILIP DAVID BLACK: I hope that watching the cast run around like crazy people performing such a demanding show reminds them that life is an adventure, and that small groups of people can get a lot done when they work together to achieve positive things in the world. And I hope they laugh at the jokes.

Playhouse 615‘s The 39 Steps opens Friday, February 16 and runs through Sunday, March 3 with shows at 7:30p.m. Fridays and Saturdays and Sunday matinees at 2:30p.m. Tickets are $20 ($17 for Military & Seniors) and are available for purchase HERE, by calling the box-office at 615.319.7031, or at the door an hour before each performance.

Next up at Playhouse 615 is Henrik Ibsen’s Hedda Gabler, on stage March 21 thru April 29. For more on the show and to keep up with Playhouse 615, check out their website or find them on Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Rapid Fire 20Q with cast of IS Productions’ ‘Closer’; onstage at The Annex at Third Coast February 16 thru 24

by

Earlier this week as cast and crew of IS Productions’ presentation of Patrick Marber’s Closer were preparing for their Friday, February 16 opening, I had the chance to chat with all four cast members about their respective characters, Marber’s though-provoking play and various aspects of love and relationships for the latest installment of my recurring interview feature, Rapid Fire 20Q. What follows are those conversations:

—————

RAPID FIRE 20Q WITH THE CAST OF IS PRODUCTION’S CLOSER

RAPID FIRE WITH CLOSER’s ANGELA GIMLIN

JHPENTERTAINMENT: While Nashville audiences have delighted for years in Inebriated Shakespeare’s barbs at The Bard, Closer marks the debut of Inebriated Shakespeare Productions’ aka IS Productions’ foray into traditional theatrical presentations. How excited are you to expand into this new endeavor?

ANGELA GIMLIN: VERY! IS Productions is the answer to a theater market saturated with incredibly safe and conventional shows. And while there is nothing wrong with that, more challenging, original and gritty shows are needed. I see more and more of it coming from Tennessee Playwright’s Studio, The Destiny Theater Experience, Women in Theater and others. I hope IS Productions will hold up with the ringleaders and call me- we’re happy to collaborate!

JHPENTERTAINMENT: Researching to chat with you and your cast mates, I ran across an interview with Closer playwright Patrick Marber in which he describes it as a play about sex, love, loneliness and the need we all have to find a mate. What would you add to that?

ANGELA GIMLIN: Closer is certainly about that on the surface. It’s also about the exploration of these four people, who really aren’t good people, and how they handle romance, love, infidelity, dishonesty, and serious physical attraction. They’re all extraordinarily duplicitous and wreak havoc on one another’s emotions.

JHPENTERTAINMENT: You play Anna. What can you tell me about her?

ANGELA GIMLIN: Anna never knows what she wants. Just when you think she’s decided on something, she waivers. When creating her back story, I sort of found a woman with some unhealthy emotional tendencies that have manifested into an emotionally wishy washy adult. 

JHPENTERTAINMENT: The show is being directed by Kurt Jarvis. What do you enjoy most about working with him at the helm of the project?

ANGELA GIMLIN: Kurt is a very open director and wants you to create and delve deeply into your character. But, he also pushes you- a lot. All he has to do is tell you that he needs more and somehow, you find it in yourself to give him that. He’s also supportive, relaxed and accepting of how his actors move the show.

JHPENTERTAINMENT: Marber originally set Closer in 1990s London. Have you kept the setting the same or have you changed it?

ANGELA GIMLIN: We are still in jolly old England, but have set it in 2024. Marber’s script could honestly (and probably is) happening right now in reality somewhere in the world. It is very much a modern tale.

RAPID FIRE WITH CLOSER’s BRITT BYRD

JHPENTERTAINMENT: Who is Alice to you?

BRITT BYRD: To me, Alice is the Manic Pixie Dream Girl trope deconstructed. She’s often used as a mirror upon which the other characters project their insecurities, desires, pitfalls and progressions, but what she inevitably reflects back at them are some pretty brutal truths about their understanding of love, sex, and intimacy. And in her own pathological lying, I think she’s actually the most forthright of the foursome.

JHPENTERTAINMENT: It’s been a minute since I’ve seen you onstage. You gotta know I was thrilled when I heard you were part of this show. Are you enjoying this production?

BRITT BYRD: I’m thrilled to be back! This production has been such a fun exercise of muscles I worried were beginning to atrophy pre- and post-pandemic. I’m really grateful for the opportunity to stretch my legs again. 

JHPENTERTAINMENT: Alice, like the rest of the characters in the show, is involved with more than one person. Since no one reads my interviews, spill it…Have you ever juggled more than one romance at the same time?

BRITT BYRD: I was quite reckless in my 20s, yeah. But who wasn’t in one way or another? I learned a lot of hard but valuable lessons from sabotaging my own happiness in those days, and I like to think I’ve grown up a lot since then, so I cut Alice a lot of slack for her mistakes.

JHPENTERTAINMENT: Can you describe each of your costars by using a single word each?

BRITT BYRD: Jeremy = Daring. Ross = Steady. Angela = Warm.

JHPENTERTAINMENT: What’s the easiest way to get Closer to you?

BRITT BYRD: Tell me the difficult but necessary truth. Oh, and ice cream cake.

RAPID FIRE WITH CLOSER’s ROSS CANALES

JHPENTERTAINMENT: What is your favorite aspect of Dan, the character you play in Closer?

ROSS CANALES: Dan truly thinks he is in pursuit of true love. Unfortunately, he falls into the trap of “the grass is always greener on the other side”, but he genuinely wants to find true love to fill a void in his heart. 

JHPENTERTAINMENT: Were you familiar with the play prior to auditioning?

ROSS CANALES: I was not familiar with the play at all. Before accepting the role, I had to do a deep dive into the story to get a good understanding of what it would take to portray Dan. 

JHPENTERTAINMENT: Can you tell me the plot of Closer in ten words or less?

ROSS CANALES: Deception and distrust lead to relationship failure and worse. 

JHPENTERTAINMENT: There are some very intense scenes in Closer. How do you prepare for such somber moments in the script?

ROSS CANALES: Preparing for the more intense scenes I really have to find private space to clear my mind and focus on being intentional with my emotion. Never having to deal with some moments like these in real life, I need the time in my own head to find a time in my life where I may have felt a similar emotion that could be used. If that isn’t enough, I try to find empathy for a person I know who has gone through something similar.  

JHPENTERTAINMENT: Seeing as how we’re just coming off Valentine’s Day, and Closer revolves around multiple relationships…What was the worst date you ever planned?

ROSS CANALES: The worse date I ever planned was back when I was in high school. I planned a movie date at a theater in a nearby town. I had dinner planned for after the movie, I bought flowers, and had a desert spot in mind. I showed up early to wait for my date who never came. I called her to ask if she was still planning to come. Turns out she was at a different movie theater that had a similar name 45 minutes away from where I was. Turns out, she was on a date with another guy and used that as the excuse. Oh, the drama of high school dating!

RAPID FIRE WITH CLOSER’s JEREMY JAMES CARMICHAEL

JHPENTERTAINMENT: Who is Larry to you?

JEREMY JAMES CARMICHAEL: Larry is all of us. He’s earnest in his attempts to make real connections, but his insecurities are cloaked in hyper-masculinity. He repeatedly misfires in his efforts to win people over; he’s fueled by his need for intimacy even when immediate gratification seems more exciting. He’s a dynamic character with redeeming qualities, though; the arc of the play explores his evolution from brute to prince via a charming series of setbacks.

JHPENTERTAINMENT: Is there an aspect of Larry that you see in your own personality, whether good or bad?

JEREMY JAMES CARMICHAEL: Well… Larry and I look a lot alike. But in regards to personalities I hope people would see us as opposites; Larry is quick to put himself first, use others to get what he wants, and (in the beginning) has yet to learn how his actions and words affect those around him. He’s a middle-school boy in a man’s body. He is, however, charming and funny… handsome… very talented. It’s a real quandary as to where Larry stops and Jeremy starts. Ha!

JHPENTERTAINMENT: If you could play one of the other roles in the show, regardless of whether you fit the ‘type’ or not, who would it be and why?

JEREMY JAMES CARMICHAEL: It would be interesting to see a gender-bender version of Closer, and I’d like to play… Alex, the male version of Alice. She is by far the most complex character in the show. And I think Britt has done such a phenomenal job creating that character that there’s no way I could ever replicate her delivery, so I’d have to employ a completely different technique. That, and I spend an hour a day on the stairclimber so I could make good use of the stripper scene and why else am I doing all this work.

JHPENTERTAINMENT: Closer is being presented at the Annex on the second floor above Third Coast Comedy Club. What’s the advantage of presenting this particular show in such an intimate space?

JEREMY JAMES CARMICHAEL: This show should ONLY be done in small, intimate spaces; the play is about the characters, their energy, their passions and their disappointments. The feelings are raw, and that translates better to an audience sitting so close. The audience is really a part of these character’s lives, and the smaller space allows you to feel uncomfortable watching the story; and all good art should make you feel uncomfortable at times.

JHPENTERTAINMENT: You’re my last cast member to chat with for this Rapid Fire 20Q, so you get my usual final question….What do you hope audiences will remember long after having seen Closer?

JEREMY JAMES CARMICHAEL: I love a story that asks more questions than it answers; I think so much theater is formulaic that shows can become stagnant. The plot points go through the same expected litany of action and the resolution puts a nice bow on the ending. Closer shatters expectations and really forces audiences to ask: who are these characters, really? who is the villain? what are we willing to do for love? when is it OK to break the rules? what sacrifices are worth it in getting what you want? These are tough questions that Closer doesn’t answer, but may help you think about in new light.

—————

If you’re interested in getting Closer to the characters in IS Productions’ premiere presentation, CLICK HERE. Closer opens at The Annex at Third Coast (1310 Clinton Street, Nashville, 37203—second floor)  Friday, February 16 with performances continuing Saturday, February 17 and again the following week on Friday, February 23 and Saturday, February 24. All performances begin at 7p.m. For more information or to keep up with what’s next for IS Productions and Inebriated Shakespeare, check them out on Facebook, Instagram and LinkedIn.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Rapid Fire 20Q with cast of Theatre of Gadsden’s ‘Steel Magnolias’; onstage at the Ritz February 9-18

by

The cast of Theatre of Gadsden’s ‘Steel Magnolias’

When Joy Tilley Perryman not only told me she had been cast in Theatre of Gadsden’s upcoming production of Steel Magnolias, but that it’s a show she’s longed to perform in, I knew I had to chat with her a some of her cast mates for my latest Rapid Fire 20 Q. With the show opening at the historic Ritz Theatre (310 North 27th Street, Gadsden, Alabama) Friday, February 9 and running thru Sunday, February 18, I reached out to Joy, who’s playing Clairee, Cheryl Sington, the show’s Ouiser, Courtney Linam as Truvy and their Shelby, Macy Sauls for the latest installment of my recurring interview feature, Rapid Fire 20Q. So grab a cuppa and settle in as the ladies of Steel Magnolias share a few secrets.

—————

RAPID FIRE 20Q WITH CAST OF THEATRE OF GADSDEN’S STEEL MAGNOLIAS

RAPID FIRE WITH STEEL MAGNOLIAS’ CLAIREE, JOY TILLEY PERRYMAN

JHPENTERTAINMENT: While this isn’t your first time auditioning for a production of Steel Magnolias, it is your first time to be cast…tell me a little of your Steel Magnolia’s journey.

JOY TILLEY PERRYMAN: So, I call myself the Susan Lucci of Steel Magnolias because I have auditioned 9 times for this show and this is the first time I have ever been cast. I auditioned both professionally and at the community theatre level in Nashville for this show. I have loved it since 1986! But for whatever reason I was never cast. I told myself I would just never audition for it again and then it simply wouldn’t matter and would just be a funny story to tell at parties. But when Theatre of Gadsden put the show on the 2024 season, I decided I would give it one more try. And though my heart has always wanted to play Truvy, I am right where I need to be with Clairee. I did not realize how much I needed her!

 

JHPENTERTAINMENT: What’s your favorite aspect of Clairee as a character?

JOY TILLEY PERRYMAN: Clairee is just so much fun! But to me Clairee’s greatest asset is her capacity to love. She loves Shelby and the other ladies just like her own. And man, how she loves her own! Her dedication to her nephew Marshall is so uplifting and affirming. Harling really went out on a limb wither Clairee’s acceptance of Marshall being gay, in 1985 that was not the norm. And I love how Clairee does not suffer a fool. Let’s not forget her words about Nancy Beth’s intelligence!

 

JHPENTERTAINMENT: You’re a southern girl yourself…is there anyone in your personal life you’ve drawn inspiration from in your portrayal of Clairee?

JOY TILLEY PERRYMAN: My Grandmother Tilley! Clairee really is so much like my Grandmother Tilley. So I loved that. Grace McAfee Tilley always looked like she was turned out of a band box. Always put together. She was a terrific cook and lover of animals (Boston Terriers named Jill) and a huge football fan. We sang her out of the church at her memorial service to the Auburn fight song. But more than anything, if you were in her orbit, you felt the fierce love that she radiated. To be loved by her was a blessing indeed!

JHPENTERTAINMENT: In addition to playing Clairee, you’re also doing costumes, wigs and props. With a show so synonymous with the 80s, thanks in part to the all-star feature film adaptation, what’s been the most challenging/fun of gettin that 80s look just right for yourself and your fellow cast mates?

JOY TILLEY PERRYMAN: You know I am a child of the 80s so this has been such a fun walk down memory lane. My biggest challenge has been in that I have too many costumes. I could costume all of us twice over. Most of the clothes are from my own stock and that has been fun. When you see the show, see if you can’t spy a little set dressing of Shelby with her fire batons. That is my majorette costume from 1982! The wigs were almost overwhelming but I just picked up my Aquanet and got to teasing.

JHPENTERTAINMENT: Clairee has some of the best lines in the show. Do you have a favorite?

JOY TILLEY PERRYMAN: This is so hard to answer! But I think it might be this: “The only thing that separates us from the animals is our ability to accessorize”.

RAPID FIRE WITH STEEL MAGNOLIAS’ OUISER, CHERYL SINGTON

JHPENTERTAINMENT: Alright, before we get into Steel Magnolias talk, I understand you were a dancer alongside Michael Jackson in THE Thriller video. How did that come about and what’s something about that shoot that you still think of to this day?

CHERYL SINGTON: I was taking class with Jaime Roger’s and he chose people out of his class to go audition for Michael Peters who was choreographing. We had no idea what we were auditioning for or that it would be what it would be! One of the most memorable things I took from that was watching Michael and Michael throw out choreography with each other and see which steps/combos worked best. It was artistic genius at work right in front of our eyes! Amazing to watch it come to life! 

JHPENTERTAINMENT: You’re playing Ouiser. What’s your favorite thing about the character?

CHERYL SINGTON: Her raw honesty

JHPENTERTAINMENT: Not gonna lie, Ouiser is my favorite character, mostly because I too have been in a very bad mood for 40 years. What’s your favorite Ouiser line? CHERYL SINGTON: “Can I help it men find me desirable?”

JHPENTERTAINMENT: Within the context of the play, Ouiser’s frequent verbal sparring partner is Clairee. Having known Joy Tilley Perryman, who’s playing Clairee for quite a while myself, I gotta ask, how is she as a scene partner?

CHERYL SINGTON: Joy is very professional, but most of all, giving on the stage. Many actors you work with are all about themselves. Joy is about the ensemble and making sure she is giving her all to the cast and the show. She is truly a gem and a pleasure to work with! 

JHPENTERTAINMENT: What is it about Steel Magnolias that has kept it a sure-fire success all these years?

CHERYL SINGTON: I believe Steel Magnolias has kept its strength through the years because of its “truth”. It is soft but raw and real! There is not a person, man or woman, who cannot connect with the story! 

RAPID FIRE WITH STEEL MAGNOLIAS’ TRUVY, COURTNEY LINAM

JHPENTERTAINMENT: Although most folks likely remember Dolly Parton’s portrayal of Truvy from the 1989 film adaptation, the role of Truly in the original off-Broadway production was originated by Margo Martindale. In the subsequent tv series adaptation, Sally Kellerman played Truvy and in the 2012 Lifetime TV film, singer/actress Jill Scott took on the role. Who is Truvy to you, and how are you making her your own?

COURTNEY LINAM: Truvy’s a vivacious and sassy southern woman who runs a home-based beauty salon. She is known for her big heart, quick wit, and nurturing nature. She serves as a confidante and friend to the women who frequent her salon, offering not just hair and beauty services but also emotional support and camaraderie. Truvy’s salon becomes a gathering place where the women share their joys, sorrows, and laughter, forming deep bonds of friendship. Throughout the play, Truvy’s strength and resilience shine through as she navigates life’s challenges with grace and humor.

Truvy has certainly been portrayed by some incredibly talented actors over the years, each bringing their unique interpretation to the role. When I tell people I am going to play Truvy, they usually say, “oh, you’re going to be Dolly!” Rather than focusing on trying to emulate Dolly Parton’s portrayal, I am trying to embrace the qualities and strengths that I can bring to the character. I have made it a point to learn about the background and personality traits of Truvy. What drives her? What are her strengths and weaknesses? How does she relate to the other characters? I’ve tried to connect with the character on an emotional level and let my authenticity shine through in my performance. 

JHPENTERTAINMENT: Another key element of Truvy’s character is her ability to find good in any situation. A great example of that is her unlikely friendship with Annelle. Who’s playing Annelle and how has she been as a scene partner?

COURTNEY LINAM: Working with Carly Sims has been an absolute pleasure. Despite me joining the cast a bit later, she has been incredibly supportive and helpful throughout our scenes together. Her dedication to her role as Annelle shines through, and it’s been inspiring to collaborate with her. She’s been great at listening and reacting, which has really elevated our scenes. Overall, I feel fortunate to have her as my scene partner, and I’m excited to continue working together to bring our characters to life on stage.

JHPENTERTAINMENT: Like all the ladies of Steel Magnolias, Truvy has some fantastic lines. What’s your favorite?

COURTNEY LINAM: One of my favorite lines from Truvy in Steel Magnolias is when she says, “Laughter through tears is my favorite emotion.” This line captures Truvy’s outlook on life – finding humor and joy even in a time of sadness and tears. It’s a reminder of the resilience and strength of the human spirit, and it reflects the heartwarming and often humorous tone of the play.

JHPENTERTAINMENT: I was told I should ask you how long you’ve been doing theatre….so…spill it?

COURTNEY LINAM: My theater journey truly began in 2020, but it wasn’t until 2022 that I stepped onto the stage for the first time, in the production of Johnny Cash Ring of Fire: The Musical.  We faced postponements—eight, maybe nine times—due to the pandemic. Our perseverance paid off when we clinched the Broadway Regional Award for Best Ensemble. In one show, I gained invaluable years of experience and forged connections that will last a lifetime. I thought it would simply be a checkmark on my bucket list, but I was wrong—I was hooked!

From there, I delved into a whirlwind of productions: Big River, Godspell, Always…Patsy Cline, and Sordid Lives. Even during a supposed break in A Christmas Carol, I found myself enlisted for makeup duty. It was a blast, but let me tell you, it gave me a whole new appreciation for the hard work of the support crew—something I already deeply valued. Five shows in two years—it’s been a wild ride, but one I wouldn’t trade for anything. Steel Magnolia‘s will be the sixth production of my theatre career. 

JHPENTERTAINMENT: Doing a little digging, I kept running across mentions of you alongside $till Broke Band. Who are they and what’s next for you all?

COURTNEY LINAM: Oh, the $till Broke Band! This group has been rocking stages for years, usually with a male lead singer. But when Sid Brown, our drummer and band manager, invited me to join a few years back, something just clicked. We’ve had some unforgettable performances together, though not as many as we’d like. Between my commitments to theatre and life’s twists and turns, we’ve had to take some breaks. I managed to convince Sid to take on the drums for the Patsy Cline band, and we’ve even added a few Patsy tunes to the $till Broke set list. It’s been a blast blending our musical worlds. But it hasn’t all been smooth sailing. We suffered a devastating loss when our dear friend and incredible guitarist, Greg Tolbert, passed away. Since then, we’ve had some amazing guitarists step in to fill Greg’s shoes, but we’re still on the lookout for a permanent member. If anyone out there’s got the chops and the passion, we’re all ears! Despite the challenges, we’re keeping the music alive. We’ve got some exciting gigs coming up, like a car show in Anniston at Greenway CDJR to benefit wounded warriors and a fundraiser for the Humane Society in March. And hey, if you need some live music for your event, wedding, or just a good ol’ party, you know who to call—the $till Broke Band’s got you covered.

RAPID FIRE WITH STEEL MAGNOLIAS’ SHELBY, MACY SAULS

JHPENTERTAINMENT: Who is Shelby to you?

MACY SAULS: Shelby to me is the epitome of strong will and strength. She will do anything for what she believes in. Her mother, M’Lynn, played by Robin Black, is also very strong willed and they tend to clash until they can reach common ground. Both of these women are pillars of strength and poise, while still upholding the beauty of the relationships around them. 

JHPENTERTAINMENT: I’d imagine growing up in Gadsden, and still living there, you can relate to the small-town vibe of Steel Magnolias. What’s the best and worst part of small-town living?

MACY SAULS: The best part of living in a small town is the connections you make go far. When you get to know somebody, you’re automatically linked to hundred of other people in that area that you may or may not already know. The worst part is that because everybody know everybody, your business is community business. It’s hard to get away with things in a small town! 

JHPENTERTAINMENT: I understand you studied Biomedical Science at Troy University and are currently doing a bit of post-graduate studies at the University of Alabama in Birmingham. What’s your focus now and what do you hope to do with it?

MACY SAULS: My focus now is in the study of the Anthropology of Peace and Human rights at University of Alabama at Birmingham. I plan on studying health disparities in our local community and becoming a medical anthropologist! 

JHPENTERTAINMENT: I’ve asked each of your cast mates what’s their favorite line, so I might as well keep it going…What’s your favorite Shelby line in the show?

MACY SAULS: My favorite line is definitely either “Forget the damn juice!” or “I would rather have thirty minutes of wonderful than a lifetime of nothing special.” It’s hard to choose! 

JHPENTERTAINMENT: Lately I conclude my Rapid Fire 20Q’s by asking my last interviewee a variation of this same questions….so here goes…What theme, idea or message do you hope audiences will remember long after having seen Theatre of Gadsden’s Steel Magnolias?

MACY SAULS: I hope that they see the beauty, solidarity, strength and love that comes with womanhood and friendship. These women in the cast display brilliant strength and camaraderie that brings these themes to life.

—————

Theatre of Gadsden’s Steel Magnolias opens Friday, February 9 at The Ritz Theatre (310 North 27th Street, Gadsden, Alabama, 35904), and running through Sunday, February 18. Performances are Fridays and Saturdays at 7p.m. and Sundays at 2p.m. Door open 45 minutes before curtain. Tickets are $20/Adults, $18/Seniors/Students/Military. Groups of 10 or more $15/each. Groups of 20 or more $13/each. To hear all the latest gossip at Truvy’s Beauty Spot and witness every heartfelt moment of laughter through tears of Theatre of Gadsden’s Steel Magnolia’s, CLCK HERE to purchase tickets. For more info call 256.547.7469.

Up next at Theatre of Gadsden is The Outsiders with shows May 3 through May 12. Auditions for The Outsiders will be held February 19 and 20. For more information, CLICK HERE. Follow Theatre of Gadsden on Facebook, Instagram and Twitter for more details.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Rapid Fire 20Q with Director and Cast of Nashville Rep’s ‘Indecent’; onstage at TPAC’s Johnson Theatre February 2-11

by

I love it when our local theatre companies take risks and present something other than the expected. With Nashville Repertory Theatre’s production of Paul Vogel’s Indecent, at TPAC’s Johnson Theatre February 2-11, they’re taking just such a risk. Vogel’s Indecent first debuted in winter of 2015 as a co-production between Yale Repertory Theatre and La Jolla Playhouse before opening Off-Broadway in 2016 and eventually playing Broadway in 2017. Examining the true story of the brief 1923 two-week Broadway run of playwright Sholem Asch’s The God of Vengeance, Indecent delves into the controversies surround The God of Vengeance, including the fact that the entire cast, the producer and the theatre owner all eventually faced prosecution for violating obscenity laws. I’ll save more on that for my review after I attend an opening weened performance.

For now, what follows are my conversations with Indecent’s current director and members of Nashville Rep’s cast for the latest installment of my recurring interview feature, Rapid Fire 20Q. First up is Nashville Rep Artistic Director, Micah-Shane Brewer who’s at the helm of this production, then it’s on to my chats with cast members Thomas DeMarcus, Sarah Aili and Eric Sorrels.

——————————

RAPID FIRE 20Q WITH DIRECTOR AND CAST OF NASHVILLE REP’S INDECENT

RAPID FIRE WITH INDECENT DIRECTOR, MICAH-SHANE BREWER

JHPENTERTAINMENT: As I mention in my intro, one thing I love about Nashville Repertory Theatre is you guys aren’t afraid to mix it up and present shows your audiences may never have had the chance to see. Indecent, on stage at TPAC’s Johnson Theatre February 2-11, is a perfect example. How did Indecent come to be selected as part of the current season? 

MICAH-SHANE BREWER: I saw the Broadway production of Indecent about 7 years ago. I went in not really knowing anything about the play. I left the theatre in awe of the experience I had received. It blended so many theatrical conventions into one – the style of storytelling and the passage of time, the music, the ensemble work, the stagecraft. It was compelling, moving and beyond anything I had witnessed in the theatre. I thought about the play for days. 

A couple of years ago, we were discussing plays and Indecent came up as an option. Last year, as we were finalizing decisions for this season, I picked it back up and read through it again. I was struck at how timely it is. Here we are today fighting the same battles as the characters are in this play: censorship, antisemitism, gay rights, women’s rights. We’re in the midst of so much strife in our country, and the voices of hate have been given a larger and louder platform over the last few years. We’re seeing history repeat itself in so many ways, and sometimes, it feels like we’re going backwards as a society. It felt right and it felt like it was time for us to tell this story. But it did (and does) scare me – in all the good ways a challenging piece of theatre should. It’s not easy, and there are so many moving parts to this production. 

JHPENTERTAINMENT: A bit of a follow-up…as Nashville Rep’s Artistic Director, do you automatically get first choice of the show’s you direct each season, or is there a process followed by eligible candidates interested in directing?

MICAH-SHANE BREWER: I suppose the answer to this question is yes; however, I give a great deal of thought to the needs of each production, especially for directors. For example, it was important to me to have female directors for both 9 to 5 and POTUS. It was very important to have a black director for The Color Purple. The programming of the season ALWAYS comes first, and then directors are chosen after. I chose to direct Indecent because this story and subject matter mean a great deal to me.

JHPENTERTAINMENT: When I first heard Nashville Rep was presenting Indecent, I gotta be honest. I knew next to nothing about the show. Researching to chat with you and some of your cast, I’ve learned a bit, but for those unfamiliar, can you tell me what it’s about?

MICAH-SHANE BREWER: Indecent is based on actual events. The play follows a troupe of Jewish artists who risked their lives to perform a work deemed “indecent.” It’s the story of Sholem Asch, a Jewish playwright, who, in 1906, wrote a play called The God of Vengeance. It was produced in Yiddish and had successful productions all over Europe. In 1922, there was a production on the Lower East Side in New York City and it was translated into English. The show then transferred to the Apollo Theatre on Broadway in 1923. It was promptly shut down and the cast and producer were arrested for obscenity and put on trial. Indecent is a love letter to the power of theatre, a cautionary tale of the consequences of censorship, and a reminder that love always triumphs over hate.

JHPENTERTAINMENT: Representation matters. It’s a phrase…and practice… you hear more and more as people become increasingly aware of sensitivity towards others. To that end, as the director was there concern that certain stereotypes, whether in speech or mannerism be avoided? Did the cast work with a dialect coach or a Yiddish consultant in an effort to represent the Jewish characters as authentically as possible? 

MICAH-SHANE BREWER: Of course, representation does matter, and it’s important that all of us do the work to be authentic, truthful storytellers. The actors play a wide range of characters and use varying types of dialects and accents throughout the play. Although some of the characters are Yiddish, the majority of the time they are speaking in English. There are some Yiddish phrases and songs used throughout. Luckily, we’ve had a great team to give assistance to our actors. Nettie Craft is our Dialect and Voice coach and has been doing excellent work with each cast member crafting the correct sounds of each dialect. There’s a lot of technique when it comes to dialect and accents, and it takes a good ear, understanding of the vocal instrument and placement, and repetition for each actor to achieve the muscle memory of creating the exact sounds that are unique and authentic. We’ve also had the good fortune of having Howard Snyder as our dramaturg. Howard has been invaluable to this process by providing excellent research for so many areas of our production. Whenever you’re working with a story based on real people and events, it’s imperative to understand the historical context of the culture and the people you’re representing. Indecent spans almost 50 years, so there’s a lot to unpack: world events, Jewish culture, the political and social implications of the times, theatre history. Being a theatre artist means being an excavator; you have to dig for the details. You have to be a lover of learning. This cast has put in the time and attention to understanding and honoring every person, culture and moment in this story. 

JHPENTERTAINMENT: What about casting Jewish actors? Was there a consciences effort to include Jewish actors among the cast of Indecent? 

MICAH-SHANE BREWER: The goal was to have as many Jewish actors as possible. Part of the callback process is getting to know more about the actors and their background and connection to the material. Some of our actors are Jewish, and some descend from Jewish (and even Yiddish) cultures. On the first day of rehearsal, we had a lot of time to share about our history and backgrounds, and I was very moved at some of the personal stories shared. Some spoke of their grandparents and family members who immigrated to the United States. One of cast members shared that their grandmother was turned away at Ellis Island and had to return. Another cast member’s father grew up speaking Yiddish and provided assistance to the actor. 

As a director, I’ve always said that the biggest success of a show is its casting, and sometimes you just know when you see the actor who’s right for a certain role, and we struck a wonderful balance of actors for this production. This ensemble is one of the most thoughtful, caring, hard working, respectful, talented ensembles I’ve had the pleasure to work with. A lot of care has been given to the work throughout this process. Everyone holds this story close to their hearts. We honor the ones who are represented in this play who sacrificed their work, their reputations and even their lives. What’s great about the casting is that I feel everyone in this ensemble was MEANT to be in this cast; it was somewhat serendipitous how this casting came together so perfectly. I’m a lucky guy to be working with such a fantastic team.  

RAPID FIRE WITH INDECENT’s THOMAS DeMARCUS

JHPENTERTAINMENT: Last time we chatted you were appearing as Mrs. Trunchbull in a local production of Matilda back in 2019. You’ve appeared in a number of productions since, and now you’re about to take the stage at TPAC’s Johnson Theatre as Lemml, The Stage Manager in Nashville Rep’s Indecent. What can you tell me about Lemml?

THOMAS DeMARCUS: Oh, sweet sweet Agatha Trunchbull…you are about as far away from Lemml as one can get! I’m so thrilled to make my Nashville Rep debut with Indecent! There are many real people referenced in the play but Lemml is a fictional creation of the genius of playwright Paula Vogel. This play begs for the intimacy that the Johnson Theatre can provide. Lemml is a tailor from a small village who happens to attend the first reading of The God of Vengeance with his cousin and it will change the entire course of his life. He believes in the play. He wants to see it thrive. He tackles the role of stage manager with the utmost respect and reverence. He comes through Ellis Island with a dream like so many others. Lemml personifies hope.

JHPENTERTAINMENT: Indecent touches on so many themes of injustice, acceptance and equality that are as relevant today as they were when The God of Vengeance, the play within the play was first written in 1906, then later mounted on Broadway in 1923. Here we are 100 years later and this play is still frequently described as ‘controversial’. What’s so controversial about equality?

THOMAS DeMARCUS: It has long been confusing to me that when underserved groups ask for equal rights, that the message twists into a loss of rights for others. That the balance of freedom for all has to come at a cost of losing the freedoms for some. It is never about having more rights than you, but having the same as you. The controversy, to some extent, must be that people hate the idea of losing their foothold on power and control. If one group can use the water fountain while another group can’t, and then one day everyone can use the water fountain, what has the first group truly lost? It doesn’t feel controversial, and yet oppression and suppression still linger.

JHPENTERTAINMENT: I noticed on Nashville Rep’s socials where they intro the cast, you cite that this performance is dedicated to your son, Leo. How important is it that audiences truly take in the messages presented in Indecent?

THOMAS DeMARCUS: I think it’s always noteworthy to self-evaluate how you might respond in a crisis or when your back is up against the wall, but perhaps it’s more important to evaluate your behavior when the thing fighting for its life is someone else, or some group, or some cause. How do you respond then? Indifference? Ignorance? Assistance? I want my son to grow up in a fair and loving household and I want that extended to a fair and loving world. To teach him right and wrong and to know how to use his voice but also his eyes and ears. I say this with no hyperbole, Leo is the greatest human who has ever lived, but I want the audience to fight for him just as hard as he will fight for them.

JHPENTERTAINMENT: What aspect of Lemml and his circumstances has been most challenging/gratifying to play? 

THOMAS DeMARCUS: After nearly 30 years of acting, I finally get to play a narrator! This show spans multiple countries, languages, and time periods so the challenge with Lemml is that he’s the audience’s through-line for the entire show. He introduces the troupe and he’s with the show all over Europe and when it comes to New York. Lemml is solid in his beliefs. He’s certainly naive and innocent when we first meet Lemml, but as the world around him consistently disappoints, he’s tasked with finding these fleeting pockets of hope. The gratifying part is I only have to play Lemml, while the rest of the cast has to switch characters multiple times. Thank goodness they are talented!

JHPENTERTAINMENT: This may seem an obvious question, but what is it about a 2015 play examining the circumstances surrounding a 1923 play that will pique audiences’ interest?

THOMAS DeMARCUS: There are two lines in the show where the audience can easily draw a connection to today: “it won’t happen here” and “these things happen”. In the play, they refer to anti-Semitism but isn’t this the same back and forth with gun-control debates? with hate-crimes? with domestic terror? with natural disasters? We have a tendency to assume that a nightmare cannot happen to us in our own community. Then it happens and we shrug our shoulders when the people in power fail to protect us. This play is telling you to not just fight for what you believe, but to defend those that cannot always fight back.

JHPENTERTAINMENT: Indecent, not only examines the controversies of The God of Vengeance, but the closeness of community. I frequently ask actors I’m interviewing to speak of the community of actors as it relates to their current show. Do you feel a closeness to those you’re sharing the stage with?

THOMAS DeMARCUS: I have been extremely impressed by Nashville Rep‘s professionalism throughout this rehearsal process. Not just the immediate company, but this extends to our brilliant designers, our hard-working crew, and to our very thoughtful dialect coach and our very thorough dramaturg. Our director, Micah-Shane Brewer comes to each rehearsal with new ideas and new questions for us to ponder. I’ve known him for 12 years and it has been an honor to work with him on Indecent. It feels like everyone is taking this material with the seriousness that it deserves and we all want to make an important show. I’d like to believe that Nashville’s theatre community is loving and supportive, and this group has not changed that opinion. I have worked with only one member of this company before (Garris Wimmer; Spamalot; Studio Tenn; 2017) but I’d heard of so many others. And I would get texts from friends saying “oh you will LOVE Rona Carter” or “so many great people in this company!” and yes…they’re right. This show demands an ensemble that is on the same page, and thankfully that’s what this show has!

RAPID FIRE WITH INDECENT’s SARAH AILI

JHPENTERTAINMENT: A quick look at Indecent’s character list reveals you play Halina, among others. Can you speak a little about the process of creating differentiality between the roles you’re presenting in a single work?

SARAH AILI: Yes! Apart from portraying Halina in “The Middle,” I also take on roles like Manke, Immigrant, Freida, Dorothee Nelson/Dine, Dr. Hornig, and one of the Bagelman Sisters. Playing these characters consecutively provides a profound lesson in staying completely present. Once the initial challenge of getting my lines, blocking, choreo, quick change moments etc… right, immersing myself in the storyline becomes more seamless. In terms of character development, I prefer starting with physicality, tone, and melody. Exploring how my characters walk, move, shape vowels, hold themselves etc…leads to discovering the character’s essence. It’s akin to slipping in and out of a well-fitted coat. Making specific choices helps me swiftly embody these characters, crucial in a fast-paced show like this!

JHPENTERTAINMENT: If memory serves, the last time I saw you onstage at Nashville Rep was their 2018 production of Avenue Q. There’s been a few chances in staff at Nashville Rep since your last involvement. Are you enjoying being back and working with the current staff and creatives?

SARAH AILI: Oh yes, VERY much! Every experience I’ve had with Nashville Rep has been stellar. I adore Micah-Shane Brewer, working with him has been a true delight! 

JHPENTERTAINMENT: What can you tell me about Halina, the primary character you play in Indecent?

SARAH AILI: Halina, a woman in the prime of her life, a woman who has been through love and loss, pain and celebration, embraces the opportunity to portray compelling and juicy roles in Indecent. Immersed in playing a female character with tenacity in her soul, the experience of bringing her to life is genuinely fulfilling for me!

JHPENTERTAINMENT: While Indecent isn’t a musical, it incorporates music, dance and song as part of the full experiences. What’s the typical rehearsal schedule like incorporating all those elements?

SARAH AILI: From the initial rehearsal day of Indecent, our musicians have been integral members of the troupe, seated at the table with us. The seamless intertwining of music and dialogue is paramount to the poignant essence of the show. Without this precise harmony between story and song, I couldn’t envision Indecent coming to life in such a profound way. Our synchronization with the music is in perfect rhythm, and the music effortlessly aligns with the scenes in every instance.

JHPENTERTAINMENT: Without revealing too much, do you have a favorite moment in the show? 

SARAH AILI: The entire show captivates me – its fluid movement, effortless exploration of profound depths, and the inherent ease and beauty it carries. The ensemble, a vital part of the narrative, is what I cherish the most. Sharing the stage with this group of immensely passionate and talented performers is my favorite aspect.

RAPID FIRE WITH INDECENT‘s ERIC SORRELS

JHPENTERTAINMENT: When I spoke with your cast mate, Thomas DeMarcus earlier, he revealed that Indecent will be his first Nashville Rep show. I understand it also marks your debut with the company. What’s the experience been like thus far?

ERIC SORRELS: It continues to be a wonderful experience. I grew up outside of Nashville in Lebanon, so being here feels a little bit like a homecoming. It’s also been a reunion with Micah-Shane Brewer, with whom I shared the stage in Knoxville several times at the Clarence Brown Theatre. In my experience, the way a particular theatre company feels hinges on the leadership of the director. From day one with Indecent, Micah-Shane fostered a room that allowed us to bond as an ensemble, put us all on the same foot as equals, and motivated me to bring my very best self to rehearsal each day. The only issue with the rehearsal process was that insane arctic weather we had for about a week. But even then, that was just a chance for me to see how dedicated Nashville Rep is to its people; Micah-Shane and our stage manager Isaac Krispin would go out of their way to pick up actors on the way to rehearsal to ensure everybody could make it there safely. Needless to say, I’d come back to work with Nashville Rep anytime they’ll have me.

JHPENTERTAINMENT: While it may be your Nashville Rep debut, you’ve got quite the career resume. Your credits reveal you were among the cast of North Carolina Theatre’s production of Beautiful: The Carole King Musical where you were not only part of the ensemble, but also appeared as Neil Sedaka, Lou Adler and half of the music duo, The Righteous Brothers. What was your favorite aspect of that production?

ERIC SORRELS: One of the reasons I love Beautiful is because even though Carole is obviously at the center, every cast member has a chance to shine. As the Righteous Brothers, we would get entrance applause before we even started singing — that’s how excited the audience was to hear You’ve Lost That Lovin’ Feeling. But to bring the question back to this production: there’s a moment in Indecent when the characters talk about how they gather at the wings of the theatre to watch a very special scene take place night after night. In Beautiful, I was that actor gathering at the wings to watch our Carole (Elena Ricardo) perform Some Kind of Wonderful, It’s Too Late and You’ve Got a Friend. Watching her shine never got old.

JHPENTERTAINMENT: Back to Indecent, you play Moriz Godowsky. What can you tell me about him?

ERIC SORRELS: The musicians don’t actually have any lines in the play, so I’m really free to bring a lot of myself to Moriz. To that end, he’s a pretty mild-mannered guy, self-taught on the accordion and ukulele, and he gets a lot of joy out of watching his actor companions tell this beautiful story and transform into so many different characters. One fun detail we discovered is that Otto the Elder (played by Garris Wimmer) and Moriz share the same last name in the script. We’re not really sure why, and it doesn’t affect the storytelling all that much, but we’ve agreed that Otto and Moriz must be family.

JHPENTERTAINMENT: As you mentioned, Moriz plays the accordion during interwoven musical segments featuring Klezmer music. Here’s a two-parter for you…For the uninformed, what is Klezmer and is it true you just first picked up the accordion just over a year ago for a production of The Great Comet of 1812? 

ERIC SORRELS: Klezmer is a musical tradition originated by the Ashkenazi Jews of Central and Eastern Europe. It’s a really expressive and dramatic musical style, with melodies that evoke big human emotions. The instrumentation is key too — klezmer music typically includes violin, accordion, clarinet, and percussion, as is the case for Indecent. I first encountered klezmer music as a member of the professional choir at Temple Emanu-El in New York City (a synagogue which Indecent references at one point!). I think it speaks to the unique experience of the Jewish diaspora that klezmer has made its way across time and space from centuries ago in Europe to Music City, USA in 2024. 

Yes! I have a background as a piano player, but the first time I ever held an accordion was October 2022 for Theatre Raleigh’s production of The Great Comet. The versatility of this instrument continues to amaze me. It’s kind of like walking around with a pipe organ strapped to your chest. The score of Indecent has been an opportunity for me to take my accordion-playing to the next level, and learning some of the trickier passages of this score has been extremely rewarding.

JHPENTERTAINMENT: Lately, I’ve ended my interviews by asking the last person I speak with a variation on this same question…What do you hope audiences take with them after having experienced Indecent at Nashville Rep?

ERIC SORRELS: I think for me, Indecent is a reminder of why we make theatre, why we attend the theatre, and why theatre will always be a vital part of human expression. The theatre is a sacred space where we can hold and examine our collective memory. I’m reminded of a classic Arthur Miller line from Death of a Salesman: “Attention must be paid.” We go to the theatre to pay attention; to remember parts of human history that would otherwise be forgotten; to find ourselves in a character who appears to have totally different experience from us. This play also reminds us that as long as there have been artists willing to show all the facets of humanity, from innocence to depravity, there have been those wishing to censor what they judge to be unsavory, immoral, or — yes, I’m going to say it — indecent. To that end, I hope audiences leave with a renewed appetite to see, support, and make more daring theatre.

——————————

Nashville Repertory Theatre’s Indecent plays TPAC’s Johnson Theatre Thursday, February 2 thru Sunday, February 11. CLICK HERE for tickets to this powerful play. Following Indecent, Nashville Rep will host two nights of staged readings of playwright Lydia R. Diamond’s Stick Fly at Nashville Public Television’s Rains Avenue studio as part of their REPaloud series. Visit nashvillerep.org to secure your FREE spots for either night. Next up, The Rep will continue their regular season with The Color Purple on stage at TPAC’s Polk Theatre. The beloved musical based on Alice Walker’s classic novel will run April 5-14.  In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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