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Rapid Fire 20Q with the cast of Playhouse 615’s ‘I Love You, You’re Perfect, Now Change’; onstage February 10-26

February 10, 2023 by Jonathan

With Valentine’s Day fast approaching, Playhouse 615 offers up the perfect look at relationships as they present I Love You, You’re Perfect, Now Change on stage from February 10-26 with shows Fridays-Sundays. Book and lyrics by Joe DiPietro and music by Jimmy Roberts, the show isn’t the standard narrative musical. Instead it’s presented as a series of vignettes examining not only a multitude of relationships, but various stages dating, mating and everything in-between. As the cast and crew prepared for their Thursday, February 10 opening night, I had a chance to chat with them for my latest Rapid Fire 20Q, my recurring interview feature. Here’s what they had to say about the show…and each other.

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RAPID FIRE 20Q WITH THE CAST OF PLAYHOUSE 615’s I LOVE YOU, YOU’RE PERFECT, NOW CHANGE

RAPID FIRE WITH I LOVE YOU, YOU’RE PERFECT, NOW CHANGE’s KRISTEN PENNINGTON

JHPENTERTAINMENT: For those unfamiliar, I Love You, You’re Perfect, Now Change isn’t your typical musical. How would you describe it?

KRISTEN PENNINGTON: It’s fun, hysterical, clever, warm and deep.

JHPENTERTAINMENT: A quick peek at your bio reveals you’re relatively new to Nashville, having moved his about a year and a half ago. In that brief time, you’ve previously appeared at Playhouse 615 in their production of Oscar and Felix, and update of Neil Simon’s Odd Couple. Now you’re back for I Love You, You’re Perfect, Now Change. What’s your favorite aspect of being part of the Playhouse 615 company?

KRISTEN PENNINGTON: I’ve met some wonderful, dear friends (looking at you Ann and Joel!*) being part of the Playhouse. *Ann Street-Kavanagh and Joel Meriwether are Playhouse 615’s Managing Director and Artistic Director, respectively

JHPENTERTAINMENT: Describe each of your costars using one word for each.

KRISTEN PENNINGTON:

Anthony – sarcastic

Memory – strong

Jameson – gifted and kind (it had to be both words).

JHPENTERTAINMENT: Relationships being a huge part of this show…what do you remember about your first date ever?

KRISTEN PENNINGTON: I don’t even remember my first date ever, ha! That should be all you need to know about how underwhelming it was.

JHPENTERTAINMENT: The show being comprised of a series of vignettes, do you have a favorite scene, yours or that of one of your co-stars, that you absolutely love?

KRISTEN PENNINGTON: There are too many wonderful scenes to choose from. Each scene and song brings its own special thing. This show is truly special from start to finish.

RAPID FIRE WITH I LOVE YOU, YOU’RE PERFECT, NOW CHANGE’s ANTHONY JUST

JHPENTERTAINMENT: Describe each of your costars in one word each…

ANTHONY JUST: This is such an amazing cast, it’s hard to sum anyone up in one word…and I think all of these words apply to each of them, but here’s my attempt:

Jamison: Versatile (so many characters!)

Kristen: Vocal (ly amazing!)

Memory: Perfect (for this show!)

JHPENTERTAINMENT: What scene in the show makes you laugh every time?

ANTHONY JUST: All of them, really. I think it’s such a funny show. I don’t think I can pick just one. I’ll narrow it down to three: The Baby Song scene, Stud and a Babe, and Marriage Tango.

JHPENTERTAINMENT: What’s it been like working with Daniel Vincent as your director and Diane Bearden-Enright as music director?

ANTHONY JUST: Wonderful! They kept us on track, but still gave us a lot of artistic freedom.

JHPENTERTAINMENT: In keeping with the themes of the show, how would you describe your ideal date?

ANTHONY JUST: I’m a romantic, and I don’t think I could describe an ideal date without knowing who my date was. The closest I could say is that I think my ideal date would have to take into account both of our likes, allow us to get know each other better and grow closer, and be something that would create a lifelong memory for us.

JHPENTERTAINMENT: If you could play any scene in the show, regardless of whether you’d be ideally cast, which scene would that be?

ANTHONY JUST: Shouldn’t I Be Less in Love With You would definitely be it. I love being in a relationship, and every word of that scene speaks to me.

RAPID FIRE WITH I LOVE YOU, YOU’RE PERFECT, NOW CHANGE’s JAMISON TAYLOR

JHPENTERTAINMENT: Describe each of your costars with one word each?

JAMISON TAYLOR:

Kristen: Sweet

Memory: Sassy

Anthony: Easy-going

JHPENTERTAINMENT: I understand this is your first show at Playhouse 615. How’ the experience been thus far?

JAMISON TAYLOR: Yes it is, and it’s been really wonderful. Joel and Ann create a warm and inviting atmosphere. Daniel has been a true joy as a director. The cast and crew are so talented and fun. I couldn’t ask for a better experience.

JHPENTERTAINMENT: Your bio reveals you’re interested in starting your own theatre company. You’ve performed at various companies around town. Is there a commonality that stands out overall that you hope to incorporate into your own company?

JAMISON TAYLOR: You’re right, I do hope to one day start a company! Having the opportunity to work with a number of community theatre has definitely been helpful for me. If I had to choose one commonality overall, it would be nurturing a sense of family. One of the things I love most about theatre is the creative collaboration that instills a deep connection between people, and all of the theatre experience I’ve had here in Nashville have done that. If I were to ever start a company, that would be an essential ingredient I would want to foster.

JHPENTERTAINMENT: With Valentine’s Day on the horizon, gotta know…Chocolates or Candy Conversation Hearts?

JAMISON TAYLOR: Chocolate, hands down, without a doubt!

JHPENTERTAINMENT: Worst date ever? Come on…hardly anybody reads this column…spill it…

JAMISON TAYLOR: It was my 19th birthday, my “golden birthday” in fact, and my girlfriend and I had been taking “a break” for a while. We went to see a heartbreakingly romantic movie together, and on the car ride home, she officially broke up with me. Happy Golden Birthday to me, haha!

RAPID FIRE WITH I LOVE YOU, YOU’RE PERFECT, NOW CHANGE’s MEMORY STRONG

JHPENTERTAINMENT: So excited when I found out you were in this show. You know I adore you and love seeing you onstage. Your bio says you’ve been in “more productions” than you can remember. Ballpark figure?

MEMORY STRONG: I think it’s around 25 since 2009.

JHPENTERTAINMENT: By this show’s nature, there’s tons of quick wardrobe changes happening as you and your cast mates go from scene to scene. It is just chaos backstage or what?

MEMORY STRONG: It’s actually not. Daniel came up with the brilliant idea of each of us having our own wardrobe station – with a bar for hanging clothes and shelves for props, folded clothes, etc. So, the chaos is compartmentalized. My station looks like a Goodwill blew up by intermission. Ha!

JHPENTERTAINMENT: I Love You, You’re Perfect, Now Change examines all manner of relationships. Mirroring that, you’ve known the show’s director for years and you just so happen to be married to a member of the show’s musical accompanists. How much fun is it to play with friends and loved ones?

MEMORY STRONG: Oh my gosh, it’s one of my favorite things! Getting to be a part of Daniel’s first directing gig is an honor and has truly been a pleasure, and it’s such a joy to look up into the band deck and see my Matt*, my partner in this crazy world playing his heart out. It’s instantly calming just knowing he is there. *Matt Smith plays violin as a member of the show’s live house band.

JHPENTERTAINMENT: I’ve asked each of your costars, so only fair that I ask you as well….Describe each of your costars with one word for each?

MEMORY STRONG: One word is SO hard, but I’ll try:

Jamison: Gifted

Anthony: Talented

Kristen: Accomplished

JHPENTERTAINMENT: This show not only runs the gamut of relationship highs and lows, but in doing so, showcases laughs and few surpassingly sweet moments. What’s one scene you think audiences will particularly enjoy?

MEMORY STRONG: Oh, man. I’d have to say one of my favorites is the penultimate scene of the show: Funerals are for Dating and the song I Can Live With That – when your life has been fully lived and you’ve experienced loss, it’s hard to imagine that there could be an “after”. But, if you’re still alive, you should LIVE.

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With that, my conversations with the stars of I Love You, You’re Perfect, Now Change came to an end, but like the cycle of relationships, it’s truly just the beginning as this production directed by Daniel Vincent opens Thursday, February 10 for its two-week run through Sunday, February 26 at Playhouse 615 (11920 Lebanon Rd. Mt. Juliet, TN). Friday and Saturday shows are at 7:30p.m. while Sunday matinees are at 2:30p.m. Tickets are $25. CLICK HERE for tickets, or call the box-office at 615.319.7031. Tickets may also be purchased in person at the theatre just prior to showtime.

Next up at Playhouse 615 is Tennessee Williams‘ The Glass Menagerie, running March 17 – April 2. Tickets are $18. Then it’s The Date, a limited engagement one week only presentation of a workshop production of an original musical comedy by Zach Leon starring Mike Wargo and Shelby Anderson. The Date runs April 14 – 16. Tickets are $20. CLICK HERE for tickets to any of Playhouse615’s upcoming shows.

For more on these shows 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 dancers Jade Primicias and Seah Hagan, on tour now with MOMIX Alice; at TPAC January 27-28

January 27, 2023 by Jonathan

MOMIX Alice, an evening of dance that puts a new spin on characters first introduced in Lewis Carroll’s beloved tales of a young inquisitive girl’s adventures in Wonderland is headed to TPAC’s Polk Theatre for a limited two-night engagement Friday and Saturday, January 27 and 28. Highlighted by theatricality, mood-setting lighting, gorgeous costumes, ever-morphing props and sets, the current tour marks MOMIX Alice‘s Music City premiere. As the company prepared for their Nashville debut, I had the opportunity to chat with two of featured dancers, Jade Primicias and Sean Hagan for my the latest installment in my recurring interview feature, Rapid Fire 20Q.

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RAPID FIRE 20Q WITH MOMIX ALICE’s JADE PRIMICIAS AND SEAH HAGAN

RAPID FIRE WITH JADE PRIMICIAS

JHPENTERTAINMENT: Thanks so much for taking the time to chat with me. A huge fan of everything Alice, I’m excited about the show. Before we get into specifics about the show itself, let’s chat a bit about your dance history. How old were you when you discovered dance?

JADE PRIMICIAS: I think dance actually discovered me. Some of my earliest memories involve prancing along with the dancers on TV, or giving my family little recitals in our living room. Like so many of us, I’ve been a dancer since I was in the womb.

JHPENTERTAINMENT: Did you take lessons from an early age?

JADE PRIMICIAS: My first dance lesson was at age five, thanks to two women who saw me dancing at a Spice Girls concert. They asked my parents if I was enrolled in classes, then assured them that I should be.

JHPENTERTAINMENT: What’s the biggest misconception about dancers?

JADE PRIMICIAS: Previously, I would have answered that some people hold the misconception that dancers aren’t intellectual or chose the arts because of an inability to achieve something more lucrative or “difficult,” however, as my career has progressed I’ve learned that it runs even deeper than that. There exists, unfortunately, a general disrespect or overall ignorance regarding the value of the arts as a tenable career field. Many people disregard or don’t understand its existence as a profession and rather view it as more of a hobby, more commonly in the South, especially further from metropolitan areas. This could, of course, be attributed to the lack of value placed on dance and arts education in public schools as well as the inaccessibility of funding for the arts, rendering artists and dance companies less able to perform in lower income or otherwise underserved communities.

As valedictorian of my high school class and a University Honors College graduate, I’m proud to say that dancers are overwhelmingly intelligent, hard workers who experience both the joy and suffering that come with many other valid careers. The arts are incredibly important to our culture and to sustaining human life, and I’m incredibly thankful to be able to serve my community by sharing my art with audiences around the world.

JHPENTERTAINMENT: When did you realize you could have a thriving career in dance?

JADE PRIMICIAS: I don’t think I ever came to that realization, to be honest. Perhaps it was towards the end of my senior year of high school, when I had just accepted a scholarship geared toward women entering the field of engineering; I had my future planned out ahead of me, but I realized that it meant giving up my truest passions: what I knew could make the biggest impact. I changed my plans and double majored in Dance and Creative Writing instead, and I never looked back. I didn’t know if a successful career would come of it, or anything for that matter– I just knew I couldn’t leave it behind. Simultaneously, much of my success is rooted in privilege. It’s often quite expensive to engage in the arts, and I’m very lucky to have had a strong familial support system, reliable housing, and the ability to work multiple jobs while pursuing my dance career.

JHPENTERTAINMENT: While researching to chat with you, I discovered you’ve not only got ties to Tennessee, but also neighboring Kentucky. What can you tell me about your southern ties, and will playing Nashville’s TPAC afford you the chance to reconnect with friends and former colleagues?

JADE PRIMICIAS: It absolutely will! I was born, raised, and educated in Western Kentucky and currently live in Memphis, although with our tour schedule I’m usually away from home. Performing in Nashville provides the opportunity for many of my communities, friends, and loved ones to come together to see the show that is so near and dear to my heart, many of whom haven’t seen me dance since I was a kid– or at all. It will be an emotional weekend of performances for sure!

JHPENTERTAINMENT: For those not familiar, how would you describe MOMIX in three words?

JADE PRIMICIAS: Look, no hands!

JHPENTERTAINMENT: How did your association with MOMIX begin?

JADE PRIMICIAS: I first heard about MOMIX while training with Pilobolus, the plant from which MOMIX was propagated, following their performance in Germantown, Tennessee. They were describing companies who created work along a similar vein, using strong partnering and improvisational techniques, and my interest was piqued. Two years later, I saw MOMIX on the same stage where I’d also seen Pilobolus for the first time, and I knew that I’d found my people– or in that show’s case, bugs. After an incredible stroke of fate, I saw them for a second time the following year and met up with one of the dancers after the show. I teared up as I expressed how much I loved the shows and saw myself in the work, and the dancer gave me the most mind-blowing piece of advice yet: just audition. As a small town, Kentucky girl, this possibility had never occurred to me. With more luck and the support of the incredible Memphis dance community, I made my way up to Connecticut (leaving during bows for a Tennessee Ballet Theater show I was directing with Erin Walter) to catch the last flight to New York on a Sunday night, and the rest is history.

JHPENTERTAINMENT: Fans of Lewis Carroll‘s Alice character are loyal indeed. I can attest to that fact as one of my dearest friends is absolutely Alice obsessed. Considering the fandom, in what ways does MOMIX Alice honor Carroll’s beloved characters?

JADE PRIMICIAS: Our Artistic Director Moses Pendleton did his due diligence in researching Alice, sharing fun facts about Lewis Carroll and his inspiration for the famous stories along the way and even incorporating the “original” Alice into the show. Moses was sure to include the timeless White Rabbit, the hypnotic Caterpillar, Mad Hatter(s), the incorrigible Queen of Hearts, chaotic playing cards, red roses, and of course Alice herself, but we invited some of the lesser known characters into the mix as well, giving the show an even more authentic charm. The Cheshire Cat, for example, appears and disappears perhaps before Alice sees it herself… Fans will recognize even more obscure references, such as in the section of the show entitled “The Tweedles” which pays homage to both its namesake and to the “Pig and Pepper” scene from the book, during which a baby that Alice is holding turns into a pig. The Mock Turtle even makes an appearance, singing her lament. Finally, bonus points go to those who can identify the song, or poem, to which the lobsters perform their quadrille!

JHPENTERTAINMENT: That covers the original nods, so, on the flip-side…are there elements in this retelling that are unique and new that you yourself particularly enjoy?

JADE PRIMICIAS: Moses loves wordplay, and of course it’s MOMIX tradition to bend the rules of reality. In addition to growing taller and smaller, in our version, Alice multiplies! These Alices appear and disappear throughout the show, taking the audience deeper into wonderland as we fall again and again into the rabbit hole–or perhaps into chimneys—in Lewis Carroll’s imagination. Another more imaginative section of the show lies within the Garden of Molar Bears & Other Creatures… audiences will stumble upon characters that Alice may not have spied in the book, but that must have spied-her. One of my favorite curious creatures is what we call Datura, named for the beautiful yet deadly nightshade flower it sometimes resembles. Truly, Lewis Carroll lulls Alice into a whimsical dream-state starting from the show’s opening piece, where he guides her into wonderland and beyond. Every time I “fall asleep” on that ladder, I wake up and I am Alice, excited to take the audience with me on the adventure of a lifetime.

RAPID FIRE WITH SEAH HAGAN

JHPENTERTAINMENT: While researching to chat with you I discovered you’re a third-generation dancer, so I’m guessing if the phrase “Born to dance” was ever true, it was true in your case. Would you agree?

SEAH HAGAN: Dance has been a part of my life since I can remember… I grew up in the theatre and watching, living, and breathing dance. So more than born to dance I was “born into dance”!

JHPENTERTAINMENT: On the subject of your family’s connection to dance, you even studied under both your parents, Natalia Botha and Charles Hagan at Southern Academy of Ballet Arts. What’s more challenging, being a student of your parents in dance, or in life?

SEAH HAGAN: My parents have always been extremely supportive of me both inside and outside of the studio. They have been my toughest critics but also my biggest fans throughout my life. To have professional dancer/teacher parents and grand parents gave me a unique upbringing. One I am very grateful to have had. Not everyone understands the rigors of a professional dance career, the training it takes to get there, and the sacrifices made, so to have your parents in your corner though all of that is a one-of-a-kind sort of support that I am beyond grateful. Also, because they know me so well, they are always sure of what I am capable of so there is always room to be pushed further when necessary and also when to be nurtured in the moments needed.

JHPENTERTAINMENT: What’s the most valuable lesson you’ve learned from your parents? Again, you can answer this as it relates to dance, or as it relates to life itself…

SEAH HAGAN: My parents taught me the value of hard work. It doesn’t go unnoticed even if you think it is. Someone is always watching and taking note of the space so always put your best foot forward no matter the situation.

JHPENTERTAINMENT: When and how did your association with MOMIX begin?

SEAH HAGAN: My parents trained another dancer who is now former MOMIX member many years ago. I saw a MOMIX show many years ago when I was too young to remember, unfortunately, but I grew up hearing the name and when I saw the company’s work I was in awe. I audition in 2017 for MOMIX and did my first tour less than a month later. I was freshly 18 years old when I got the job and my whole world turned upside in the best way possible.

JHPENTERTAINMENT: Thus far, you’ve danced in three MOMIX shows. What’s your favorite aspect of being a member of the company?

SEAH HAGAN: MOMIX is unlike any other company. Not only is the work one of a kind, but also the atmosphere. Having the honor of working with Moses Pendleton and Cynthia Quinn—our Artistic Director and Associate Director—is incredible. Both have so much valuable insight into dance and movement that not only applies to the work but can be taken into the outside world as well. The other dancers in the company also each have a unique blend of skills that you are constantly learning from by just being around them and you are forever pushed to explore new limits and comfort zones in the studio. I could go on forever. The touring life too is so special. We travel and preform most of the days out of the year and are a very tightly knit group who essentially work, eat, dance, live, and grow together which forms bonds as deep as family. The memories made here are the best of the best. We go to incredible places all over the world from Europe to Asia and all across the United States and each place is just as special as the last.

JHPENTERTAINMENT: You have been with Alice since the beginning. What’s most gratifying about seeing a project from inception to presentation?

SEAH HAGAN: Watching and being a part of Alice’s creation and ever-changing development has been a journey. Much as Alice the character is traveling though the different parts of Wonderland, Alice, the production, is on a voyage through different stages of MOMIX-land. It’s been very special to watch the show come together and deepen over the years.

JHPENTERTAINMENT: Is MOMIX Alice like most theatrical presentations in that…certain dancers are cast as certain characters? Or might someone dance the role of Alice one show and the next tour stop, they might be the Mad Hatter?

SEAH HAGAN: We occasionally have changes to casting but typically have a set “tack” we preform throughout the show. The production is different in the sense though that we all play multiple characters. For example, in this show I am: Alice, a rabbit, part of the Lobster Quadrille, the Queen of Diamonds and Hearts, one of the creature in the garden, the Wolf Spider, and then back to Alice many times throughout the show. Each dancer has a similar arrangement of roles so there are many different “hats” to be worn throughout the show!

JHPENTERTAINMENT: Dance is a very demanding profession, requiring constant body maintenance, whether it be stretching, working out, or simply finding time and space to move, rehearse and tune your craft. How does that work while on the road?

SEAH HAGAN: We are preforming most every day on tour so our workout comes mostly from the show. We take a ballet class every day to warm up, so we are maintaining our technique as well. A lot of the dancers supplement here and there by practicing yoga or doing Pilates. Personally, ballet or riding a bike is my exercise of choice. Also, we definitely get our steps in by exploring the cities we are preforming in before the shows and on days off. It’s most difficult on long travel days with fights or extended drives but we all have our own personal ways to tend to our bodies as needed.

JHPENTERTAINMENT: Wardrobe, set design and lighting play a supporting role in dance performance. Is there a particular scene, segment or look…whether your’s or one of your fellow dancers…that you simply love?

SEAH HAGAN: The whole show is a visual spectacle, so every scene has something to look for. I would say the lobster quadrille is always very eye-catching to the audience and fun to perform as the dancers are manipulating large hoop-skirts into different shapes and accessories. This piece is challenging from a dancer perspective because the piece is really a dance for the prop and learning how to remain understated personally while still performing is quite difficult at first.

JHPENTERTAINMENT: Alright, we’ve come to the end of our chat. I usually like to close my interviews by asking….What do you hope audiences come away with after having witnessed MOMIX Alice?

SEAH HAGAN: I hope the audience lets Alice take them on a trip though Wonderland in the abstract design it was created in. I always like to tell people to let their imagination run wild and don’t be afraid to let your natural reactions out whether it be laughter, curiosity, or amazement. Come with us into the world of Alice and let us transport you to another dimension!

MOMIX Alice invites Nashville audiences to travel down the Rabbit Hole with two Music City performances at TPAC’s Polk Theatre, Friday, January 27 and Saturday, January 28 at 8pm each night. At the time of this interview, limited tickets remain for both performances. Tickets start at $55 and are available HERE. For even more of an insider’s look, patrons are invited to attend a special TPAC INSIDE/OUT WORKSHOP: MASTERCLASS WITH MOMIX from 3pm until 4:30pm on Saturday, January 28 at TPAC’s Rehearsal Hall. Tickets to the workshop are $10. CLICK HERE to reserve your spots.

Not in Nashville, but interested in seeing MOMIX Alice in a town near you? You can keep up with the the company and the tour by following MOMIX on Facebook, Instagram, Twitter and YouTube.

Following MOMAX Alice‘s Nashville engagement, TPAC continues to celebrate dance with Shen Yun returning February 3 & 4 and Nashville Ballet‘s premiere presentation of Attitude: Anthology February 10-12. Then, TPAC’s Perspectives series returns with Why Would I Mispronounce My Own Name? February 10-12. Broadway at TPAC continues with the Nashville debut performances of the National Tour of SIX the Musical February 21-26…just to name a few upcoming events. For the full calendar of performing arts coming to TPAC, check them out 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.

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.

Rapid Fire 20Q with director and cast of Circle Players’ “Agatha Christie’s Murder on the Orient Express”; onstage at Looby theatre January 13-29

January 13, 2023 by Jonathan

Agatha Christie has long been my favorite mystery writer, having first discovered her by way of film adaptations when I was younger. With an introduction to her work via film versions of The Mirror Crack’d, Death on The Nile and Murder on the Orient Express, I was quickly obsessed. Heck, I even began reading Christie’s novels in a thematic manner…the first time I flew in an airplane, I read Death in the Air, at Halloween and Christmas I read stories featuring her most famous detective, Hercule Poirot that took place during those holidays. When I heard Circle Players was mounting Ken Ludwig’s stage adaptation of Murder on the Orient Express I hoped I’d kick off the new year by featuring some of the cast and crew for my latest Rapid Fire 20Q. In spite of the fact that they were in the throes of tech week, I was thrilled when director Clay Hillwig and cast members Elliott Robinson, Antonio Nappo and Bailey Borders graciously agreed to chat with me in the days just prior the show opening at Looby Theatre Friday, January 13. What follows are those conversations.

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF CIRCLE PLAYERS’ AGATHA CHRISTIE’s MURDER ON THE ORIENT EXPRESS

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS DIRECTOR CLAY HILLWIG

JHPENTERTAINMENT: How did directing Murder on the Orient Express for Circle come about?

CLAY HILLWIG: A little over a year ago, Circle Players reached out to me and asked if I would be interested in directing this show. I could not type “Y-E-S” out quick enough in my response. To be honest, it had not been on my list. I am still questioning how it wasn’t. I guess fortune placed it in front of me and I am very thankful to Circle Players that it did.

JHPENTERTAINMENT: This may seem a simple, obvious question, but having appeared both in shows, as well as being part of various productions’ crews, do you think that gives you an advantage as a director guiding actors?

CLAY HILLWIG: That is a good question. I do not know if it necessarily gives me and advantage, but it definitely gives me a full understanding of the moving parts of a production. In regards to guiding actors. I have always approached directing style and my relationship with my cast, based my own desires as an actor. How do I what to be directed? How do I want to be treated during the process? Am I being challenged to grow in my craft as an actor? Do I trust my director to provide both positive and negative feedback in a constructive manner, Is my director available, to guide me in defining the character I am playing and my relationships with the other characters within the story? Most importantly, is my director providing a safe environment to work in? I have been labeled as “an actors director”, which tells me that my approach is making a positive impression. Communication with my actors is crucial to me. Making sure that I am listening to them and their ideas with the same patience and respect that I require from them. That being said, I believe that it is also very important to strike a balance of directing through the process and knowing when to get out of the actors way. My goal is always to provide a drama free, safe environment, for my actors to work and grow in their art. If the production is flawless and receives rave reviews, but I have failed in this important part of the process, I cannot walk away with the satisfaction that is was a successful production. I would like to take this opportunity to say that this cast had been a pure joy to work with. They have showed up prepared from the very beginning of the process and have made my role as their leader as smooth as it could have possibly been.

JHPENTERTAINMENT: I myself am a lifelong Christie fan, heck I recently finished my annual holiday re-read of her seasonal mystery, Hercule Poirot’s Christmas, so suffice it to say I’m perhaps a tad more familiar with Christie than some of your audience might be. That said, Christie’s novel includes 12 suspects, but playwright Ken Ludwig opted to par down the suspect list to eight. How does this enhance the telling of the story of the stage play

CLAY HILLWIG: It is an interesting choice by Ludwig to reduce our suspects from 12 to 8. He took some license in the melding of characters from the original 12 to the 8 that we have here, without taking away from the original writing of Ms. Christie . The result is a very tight, fast paced, well written script. Though Christie purist may not agree, I believe that the choice in this adaptation works very well for the stage. The strongest endorsement is from the Agatha Christie Limited, who personally requested he take on this adaptation. Ludwig refers to this project as one of the highlights of his career. I think we can all understand why.

JHPENTERTAINMENT: In addition to directing, you’re doing double duty as the show’s set designer. As the title might suggest, the action takes place primarily aboard the infamous train. What’s the biggest advantage—aside from the assumed less number of sets—to directing a show that takes place in a relatively confined solitary space?

CLAY HILLWIG: Not easy!!! Yes, there are limited sets, but the size of the set and the limited space for our scenes to play out has been challenging. When you research the original Orient Express, space is very tight throughout. It is important that we are telling our story from within the tight confines of the train and not the expanse of the theater stage.

JHPENTERTAINMENT: While the story is set in the confines of the legendary train, the cast of characters provide an international flare with travelers from England, France, Belgium, Russia, the US and more, so I gotta know…who’s the show’s dialect coach?

CLAY HILLWIG: Early in the production process I had reached out to candidates to join us as dialect coaches, Of course schedules and conflicts tend to alter our best laid plans as you get closer to the target date.. But, there is always a solution. In this case I was very fortunate to cast two actors, Barrett Thomas and Kaleigh Ruiz, who have both a minor and major in French and Belgium.. They have worked closely with our players in perfecting these accents. As for our other dialects, the actors came prepared, some with accents already in place, others working very hard using various tools that are available. YouTube is a wonderful thing!!

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS’s HERCULE POIROT, ELLIOTT ROBINSON

JHPENTERTAINMENT: As you reveal in your cast bio, Murder on the Orient Express marks your tenth time to appear onstage with Circle Players. I think I’ve seen you in each of the previous nine. Whenever an actor has such a longstanding relationship with a theatre company, I always like to ask…What is it that keeps you coming back?

ELLIOTT ROBINSON: Bottom line is, Circle Players always mounts quality productions. The rehearsal processes are drama-free, I always get to work with amazingly talented casts and crews, and the end result is something that all of us, and all of Nashville can be proud of: professional-quality live theatre productions, and a great variety of them, whether they be musicals or not.

JHPENTERTAINMENT: Hercule Poirot and Miss Jane Marple, another of Christie’s best-known detectives, are among the most beloved literary detectives of all time. What’s it like portraying such an iconic character?

ELLIOTT ROBINSON: It’s a huge challenge because so many people know the character. When I mention the role, so many people have shared their recollections of Poirot, and sometimes ask me whether I am going to try to recreate this scene, or this mannerism, or whatever; simply, the answer is no. I am going to make the character my own. I wouldn’t dare watch a movie or anything like that involving a character I’m working on, for fear that – even subconsciously – I might imitate something that someone else did. So, I take all my cues from the words in the script, plus my director’s notes and my own research about the character.

JHPENTERTAINMENT: Having just chatted with your show’s director, I brought up the subject of the variety of character dialects. As Poirot, your character is infamously from Belgium. If you were to teach a quick course in the Belgian dialect, what would your top two helpful hints?

ELLIOTT ROBINSON: I would NOT be able to teach a course! It is clear that, with all of the French phrases peppered into the script, that Poirot is from a part of Belgium that is French-influenced, as opposed to some Belgians that have more of a Dutch flavor to their speech (I learned that searching youtube clips!). I will say that a couple of fluent French-speakers in the cast have been tremendously helpful, guiding me through the French phrases, as well as helping me with the accent. Ultimately, I am more worried about the audience understanding what I’m saying than I am about being the “most French,” if that makes sense.

JHPENTERTAINMENT: Do you think you’d be a good detective in real life?

ELLIOTT ROBINSON: I think I have some good detective-ish qualities, like attention to detail, and I feel that I’m a pretty observant person. What I don’t know is how much pleasure I could derive from it. Could I truly enjoy running headlong into brick wall after brick wall, figuring out new clues or ideas because the previous ones have not panned out? Also, I’m one that does not much go for the thrill of danger; I prefer a much calmer existence.

JHPENTERTAINMENT: What is your favorite aspect of Poirot’s personality?

ELLIOTT ROBINSON: His intelligence. He is very well-read, and very well-rounded. He speaks multiple languages, has a grasp of world history, he knows his Shakespeare, and he is somewhat of a psychologist (as well as a bit of a flirt). He is not swayed by false evidence, and his calculating manner gets to the exact way things went down. Brilliant man!

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS’s MONSIEUR BOUC, ANTONIO NAPPO

JHPENTERTAINMENT: What can you tell me about Monsieur Bouc?

ANTONIO NAPPO: He is larger than life.

JHPENTERTAINMENT: Circle shared cast portraits on socials recently and the first thing I notice was that you’ve apparently cut your hair and trimmed your beard. The story takes place in the early 1930s. Was it a no-brainer to alter your appearance to better fit the aesthetic of the show?

ANTONIO NAPPO: Absolutely, Clay’s question to me at auditions was if I was married to the long hair/beard look. I said I’m not, but my wife is. She’s the one who took some convincing.

JHPENTERTAINMENT: In Christie’s original novel, Monsieur Constantine Bouc is a military man from Belgium. The 1974 film adaptation and playwright Ken Ludwig’s all but drop the character’s military background, instead focusing on his current position as a high-level employee of the rail company.As you’ve developed your portrayal of Bouc, have you created any backstory in your mind that you’d care to share?

ANTONIO NAPPO: His deep friendship with Poirot is paramount to me. It’s at the core of who Bouc is.

JHPENTERTAINMENT: When Christie’s novel was released, it was immediately apparent that the events that open the story were directly lifted from the now-historic 1932 kidnapping of Charles Lindbergh, Jr. Was that bit of trivial ever discussed during rehearsals or is that something you knew prior?

ANTONIO NAPPO: We did discuss it, at length. But I did know about it prior to going into this show.

JHPENTERTAINMENT: In keeping with the subject of the show…If you could get away with a crime…would you?

ANTONIO NAPPO: How do you know I haven’t already?

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS’s HELEN HUBBARD, BAILEY BORDERS

JHPENTERTAINMENT: Alright, as this show’s Circle Players newbie, I gotta ask…what’s the experience been like so far, working with Nashville’s oldest continuing theatre company?

BAILEY BORDERS: This has been the smoothest experience I’ve ever had in community theater and I’d like to thank our whole team for that! The cast has been so supportive and Clay is such a wonderful director to collaborate with. We’re leaving the drama for the stage for this one!

JHPENTERTAINMENT: While it’s your first show with Circle, you’re a Nashville native, having studied at Nashville School of the Arts. After school you relocated to Los Angeles to continue your pursuit of acting and recently relocated back to Music City. What’s your impression of the changes and growth of Nashville since you were last here?

BAILEY BORDERS: I’m loving the growth of the city, but I have to say I miss some of our local hangs that couldn’t withstand the rent increase. While there’s so much more to do and explore, I hope we’re able to keep the charm Nashville has always had!

JHPENTERTAINMENT: In Agatha Christie’s source material, as well as subsequent film adaptations and now this stage version, Helen Hubbard has always been portrayed with a certain air of elegance and a bit of initial arrogance. How much fun are you having playing her?

BAILEY BORDERS: Helen Hubbard has been an absolute blast to play! I love a strong, outspoken character. She has so many levels to explore. My favorite part of Mrs. Hubbard is her brashness. She’s somehow able to maintain an elegance while being the life of the party.

JHPENTERTAINMENT: From the legendary Lauren Bacall’s portrayal of Mrs. Hubbard in the 1974 film to the equally glamorous Michelle Pfeiffer in Kenneth Branagh’s 2017 remake, a huge part of the character’s mystique manifests itself in her fabulous wardrobe. For Circle’s production, Denese Evans is the show’s costumer. What can you tell me about your Mrs. Hubbard’s style?

BAILEY BORDERS: Denese has been outstanding at creating Mrs. Hubbard’s aesthetic. Collaborating together on her hair, makeup, and classic pieces has been one of the most fun elements of seeing Helen brought to life. Mrs. Hubbard is glamorous and does not shy away from a show stopping garment. She uses her wardrobe as her space to shine!

JHPENTERTAINMENT: So, whodunnit? Just kidding. What is it about Murder on the Orient Express that you think audiences will enjoy most?

BAILEY BORDERS: I think audiences will be pleasantly surprised at the amount of comic relief in our show! The tension is always there, as the mystery unfolds, but there are some wonderful moments in between that provide a certain lightness.

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To take a ride on the Orient Express, CLICK HERE to purchase tickets to Circle Players’ presentation of Agatha Christie’s Murder on the Orient Express. The show runs Friday, January 13 through Sunday, January 29 at Z. Alexander Looby Theatre (2301 Rosa Parks Blvd). Tickets are $20 for Thursday performances and $25 Fridays-Sundays. To keep up with the latest from Circle Players follow them on Facebook, Instagram and Twitter.

RAPID FIRE 20Q WITH CAST OF LARRY KEETON THEATRE’s ‘WHITE CHRISTMAS’

December 1, 2022 by Jonathan

If you know me at all, or you’ve read any of my holiday reviews over the last decade or so, you likely know Irving Berlin’s White Christmas is my hands-down favorite movie musical, in any incarnation. Doesn’t matter whether we’re talking about the classic 1954 film, or the subsequent stage musical. I love all things White Christmas. Given that bit of insider info about myself, of course I had to chat with Kevin Raymond, Micheal Walley, Casey Cuba and Dani Haines for my latest Rapid Fire 20Q. The quartet of talented performers are starring in White Christmas directed by Keith Hardy at The Larry Keeton Dinner Theatre (108 Donelson Pike) beginning tonight, Thursday, December 1and continuing through Sunday, December 18.

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RAPID FIRE 20Q WITH THE CAST OF THE LARRY KEETON THEATRE’S WHITE CHRISTMAS

RAPID FIRE WITH KEVIN RAYMOND, BOB WALLACE IN WHITE CHRISTMAS

JHPENTERTAINMENT: Tell me a little about Bob Wallace.

KEVIN RAYMOND: Bob Wallace is a lovable character but sometimes he appears to be a bit sarcastic because he’s missing something in his life. There’s no romance going on he doesn’t have anybody to love. Even his partner Phil points out that he should “add a little romance to his life“ and maybe he’d be happier. He spends most of his time working on business deals and the Wallace and Davis act on his entire life since the army. The transition of his character in White Christmas is truly a beautiful one through his rocky relationship with Betty Haynes. Hopefully, you’ll have a chance to see the love in his heart, his joy in his business and performing as well as his general love for his fellow mankind.

JHPENTERTAINMENT: Taking on the role made famous by Bing Crosby…daunting, a dream, or a combination of both?

KEVIN RAYMOND: I have to say, it is a daunting task! Bob sings a majority of the music in the show and appears in every scene except for two in the entire musical. One of the biggest things that I’ve enjoyed about this is the challenge set before me. But to be perfectly honest, this has been a dream role for my entire life. I feel as if I’m in an age right now to be the perfect Bob Wallace because 10 years ago I may have been too young and 10 years from now I’ll definitely be too old to play this character.

JHPENTERTAINMENT: Your creative credits go beyond on-stage performing, you’ve also been involved in a number of productions at The Keeton and other theatre companies behind the scenes. Do you think that gives you an advantage when cast in a show?

KEVIN RAYMOND: I’m delighted to also be the choreographer for this production and one of the things that I generally always tell the cast is to think like a director or to think like a choreographer. I feel as if it’s a life learning lesson to have someone nurture you to the fact that if there’s an even number of people on stage, someone will split the center line when it comes to blocking a dance. If there’s an odd number of people on stage someone will always be on that center line. If you have thoughts like this in your head going in to a learning experience then it makes life so much more easy for you. Also, when you’re moving set pieces think about what might need to go off before some thing else comes on and vice versa. The knowledge that it takes to be able to pull things off like that is a vital life lesson for the arts. I think that my interaction with people and all of the previous artistic elements I’ve been involved in at the Keeton certainly help me to develop this and others as well. On top of that, because I generally think like a Director and Choreographer, blocking, staging and other elements come really easy for me and I can pour that natural instinct into a character.

JHPENTERTAINMENT: Speaking of other gigs, a couple years ago you released a Christmas cd. What can you tell me about that project?

KEVIN RAYMOND: Christmas music is and always will be my favorite! I love being in the studio and creating art on a recorded medium. It’s very different than live performing because you can do quite a few takes and pick the best one or splice things together very easily. The CD was basically a labor of love and a really fun project that one of my best friends, Gabe Wateski, recorded and produced for me. The title of the CD is called Christmas Is… and can be found on my website at kevinfraymond.com. It has 18 truly wonderful tracks, some old and familiar and some new material.

JHPENTERTAINMENT: I’m about to chat with you costars, so I gotta ask…what’s it been like to share the stage with Micheal Walley’s Phil Davis to your Bob Wallace?

KEVIN RAYMOND: Micheal is an absolute joy! I’m so thankful that the director, Keith Hardy, cast him because if I was directing, he would’ve gotten my first vote as well! Filling the shoes of Phil Davis (not to mention having everyone always comparing you to Danny Kaye) is not an easy one because he hast to be an absolute funny man. Every successful vaudeville act has to have two comedians where one is acting in the funny man capacity and the other as the straight man. Micheal is the perfect funny man for the show. He brings Phil to a light that I could’ve never even imagined. It is so easy to work off of him that I’m truly blessed to be on stage with Micheal. In real life, Micheal is a tremendously likable young man with a great personality and though I only met him when we started rehearsals for the show I feel as if I’ve known him forever already. I think at the Wallace and Davis combo along with the Haynes Sisters will leave you very pleased with White Christmas!

RAPID FIRE WITH MICHEAL WALLEY, PHIL DAVIS IN WHITE CHRISTMAS

JHPENTERTAINMENT: I just interviewed your co-star, Kevin and asked about working with you, so turn about is fair play…how is Kevin as a scene partner?

MICHEAL WALLEY: Oh, Kevin! When I auditioned for the show and read a scene with Kevin, I thought to myself, “I really would love to play opposite that guy!” It’s been a dream. Kevin truly is the ideal song-and-dance man, and getting to feed off of his energy and stage presence is so much fun. He and I also accidentally showed up wearing matching shirts at rehearsal one day, so he has great style.

JHPENTERTAINMENT: I last saw you at the Darkhorse Theatre in Bucket List Productions’ Assassins earlier this year, but first saw you in Chaffin’s Barn Dinner Theatre’s Minnie Pearl: All the News from Grinder’s Switch. All very diverse roles. What draws you to a role?

MICHEAL WALLEY: It’s been so fun getting to bring to life all sorts of different characters. Honestly, I’m grateful to do any role that is offered- whatever the type of role! I went a long time without doing any sort of theatre, and am in awe that people have trusted me with some really wonderful roles. The incredible team at Chaffin’s Barn (gosh – I miss it!), the cast mates that became family in Assassins, and the new friends in White Christmas have made Nashville feel like home. Each role has pushed me to be a better performer, and I’m so grateful for the community here. I’d jump at any chance to work with the wonderful people that make up the Nashville theatre community!

JHPENTERTAINMENT: If you could apply an aspect of Phil’s character into your real life, what would it be?

MICHEAL WALLEY: I love Phil’s optimism and glass-half-full nature. I’m usually an optimistic person, but man, the pandemic and the past few years have affected us all, and it’s a little harder to look on the bright side of things. I’m challenged to refocus and reconnect with my own optimism to ensure Phil’s joy is authentic onstage.

JHPENTERTAINMENT: Snow is my favorite moment in the show…what’s yours?

MICHEAL WALLEY: I absolutely adore the Act 2 opener, I Love a Piano. While I’m sad that Choreography from the movie isn’t in the live stage show, this song is a pretty good substitute and a blast to perform. It’s such a big production number, and I’m really proud of what the cast has accomplished with it over the past few weeks. Plus – the costumes are fantastic!

JHPENTERTAINMENT: Singing, dancing, comedy and a little bit of drama…White Christmas has it all. I understand you co-star, Kevin is also the show’s choreographer. What has rehearsal been like?

MICHEAL WALLEY: Yes, the choreographer is none other than our Bob Wallace, Kevin Raymond. Kevin has pushed us beyond what we thought was possible. At our first rehearsal, I said, “I hope people watch my face and not my feet” because I don’t consider myself a great dancer. But Kevin has been a fantastic, patient teacher and I’ve learned so much from him. He’s helped create something really impressive on the Keeton stage, and we can’t wait for the audience to see our tapping feet! In the words of Clark Griswold, “This will be the hap, hap, happpiest Christmas since Bing Crosby tap-danced with Danny…Kaye!”

RAPID FIRE WITH CASEY CUBA, BETTY HAYNES IN WHITE CHRISTMAS

JHPENTERTAINMENT: While preparing for the role of Betty Haynes, what or who have you drawn from to channel certain attributes?

CASEY CUBA: Looking the part of Betty during this time period, I focused on the elegance and poise of my grandmothers. I always loved looking at their old photographs from the 1940s and envied how glamorous life seemed. As for the character of Betty, I have drawn on my own raw emotions, vulnerability, and life experiences. Betty is very independent and strong willed, traits that sometimes cause her to sabotage her own happiness. I often recognize these traits in myself.

JHPENTERTAINMENT: Of course there are parallels between the two featured couples…Betty and Bob share more serious traits while Phil and Judy are a bit more carefree. In real life are you more a Betty or a Judy?

CASEY CUBA: I am definitely more of a Judy in real life! I am the one finding humor in almost ANY situation. Who doesn’t enjoy laughing?

JHPENTERTAINMENT: I’ve said it a hundred times…White Christmas isn’t just my favorite Christmas movie. Heck, it’s my favorite stage musical…of all-time. Aside from White Christmas, naturally…what’s your favorite holiday viewing?

CASEY CUBA: I can only choose one?!? Planes, Trains, and Automobiles is my favorite movie for Thanksgiving, but for Christmas…there are so many good ones! My top 2 favorites are probably It’s a Wonderful Life and Christmas Vacation.

JHPENTERTAINMENT: The wardrobe…can we talk about the wardrobe? The show’s director, Keith Hardy is doing double duty as the costumer as well. Do you have a favorite look?

CASEY CUBA: Yes, Keith is also the costumer. How amazing is that? He has knocked it out of the park…per usual. The dresses for Sisters, the iconic blue dresses and fans, are UNREAL! They are just gorgeous. But my absolute favorite look in the show is the black velvet gown that Betty wears for her solo of Love, You Didn’t Do Right By Me. It was made to look just like the gown Rosemary Clooney wore in the film and it is just stunning. I feel so connected to Betty in that scene with the glamour and the raw emotion. It’s just beautiful.

JHPENTERTAINMENT: If you hadn’t been cast as Betty, regardless of whether you’re the ‘type’, what other White Christmas role would you love to play?

CASEY CUBA: I would love to play Rita or Rhoda! Haha I mean c’mon! I think it would be so fun to play a ditzy, blonde bimbo! Their lines are so ridiculously funny and their costumes are hysterical!

RAPID FIRE WITH DANI HAINES, JUDY HAYNES IN WHITE CHRISTMAS JHPENTERTAINMENT: I’ve heard playing Judy a dream role for you. What is is about Judy Haynes that drew you to the part?

DANI HAINES: I’ve always had a connection with Judy since I first saw the movie when I was younger. She was a charismatic and dynamic performer and I think that really influenced how I’ve approached all the roles I’ve gotten the chance to do throughout my stage career.

JHPENTERTAINMENT: I understand you’re a relative newcomer to Nashville and this is your first show at The Keeton. How’s your time in Music City been thus far and are you enjoying being part of the Keeton family?

DANI HAINES: I’ve lived in a lot of different places in my life, and Nashville has been one of my favorites! I’m excited to put down roots in a diverse, entertaining city. Joining a new theatre family will always come with unique challenges and barriers, but I’ve learned so much about myself and the community through the experience; and I’m extremely grateful for the love and support from my new friends.

JHPENTERTAINMENT: The role of Judy is dance-heavy, having first been portrayed on screen by the iconic Vera-Lynn. Do you have a dance background?

DANI HAINES: I’ve actually been a dancer most of my life! I started lessons at a young age in various genres of dance, and that was what created the gateway to my love for musical theatre. I’m so fortunate to have had the experiences I’ve been given and use them in this show.

JHPENTERTAINMENT: A little online sleuthing revealed when you’re not on stage, you work at an escape room. If you could create a White Christmas-themed escape room, what would it consist of?

DANI HAINES: Hmmm… Without a doubt, there would have to be a lot of music! I’d probably create a puzzle involving the iconic songs of the movie and the show. The theme would be “backstage and get ready so the show can go on”!

JHPENTERTAINMENT: What do you hope audiences take with them after seeing White Christmas at The Keeton?

DANI HAINES: One of the biggest lessons this show teaches its viewers is that a kind heart and goodwill towards others never goes out of style. I hope that this show serves as a reminder to us all that compassion and generosity should be celebrated year round, not just during the holiday seasons. I also hope they take home fun memories and some tapping toes!

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Irving Berlin’s White Christmas celebrates the holidays at The Larry Keeton Dinner Theatre with performances December 1-18. At the time of this posting, it would appear the entire run has sold out, but you just never know…some Scrooge might have to cancel at the last minute. You might want to call 615.231.1231 and check on last-minute availability. Dinner and Show tickets are $35/Adult and $25/children. Show Only tickets are $30/$20. CLICK HERE for more information.

Up next at The Keeton Dinner Theatre is Newsies. February 10-26. CLICK HERE for tickets. To keep up with the latest from The Larry Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

Rapid Fire Q&A with actor/playwright/director David Alford; ‘A Holiday To Remember’ recitations of Truman Capote’s ‘The Thanksgiving Visitor’ and ‘A Christmas Memory’ at Belmont Mansion this holiday season

November 22, 2022 by Jonathan

You may know David Alford by way of his six-season role as Bucky Dawes, manager to Connie Britton’s Rayna Jaymes on the hugely popular CMT/ABC drama series Nashville, multiple tv and film roles including The Good Fight, The Blacklist and The Last Castle, his recent appearance alongside Laura Linney, Cynthia Nixon, Richard Thomas and Michael McKean in the 2017 revival of Lillian Hellman’s The Little Foxes on Broadway, or for having created Spirit: The Authentic Story of the Bell Witch, which recently celebrated its twentieth year in nearby Adams, TN. Either way, or even if you don’t know David, you’ll definitely want to check out A Holiday to Remember, Alford’s presentation of two of Truman Capote’s most-cherished stories, The Thanksgiving Visitor and A Christmas Memory, being presented in the Grand Salon of Nashville’s beautiful and historic Belmont Mansion with select performances November 23-December 17.

Having known David for years, not only by his aforementioned accolades, but through a mutual friend, as well as his tenure as Executive Artistic Director of Nashville Repertory Theatre a few years ago, when it was known as Tennessee Repertory Theatre, as soon as I learned he was returning to the Nashville theatre scene to perform this latest iteration of not one, but two Capote treasures, I knew I had to chat with him for my latest RAPID FIRE Q&A.

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RAPID FIRE Q&A WITH ‘A HOLIDAY TO REMEMBER’ STAR, DAVID ALFORD

JHPENTERTAINMENT: In preparing to chat with you, I rewatched the mid-60s television presentations of both The Thanksgiving Visitor and A Christmas Memory starring Geraldine Page as Sook. I remember seeing them on TV about a decade later when I was a kid. These stories were my introduction to Truman Capote. What was yours?

DAVID ALFORD: My first introduction to Capote, like many other people, was seeing him on The Tonight Show with Johnny Carson. I was young. He struck me as a strange fellow with a funny voice that the adults seemed to find terribly amusing. I knew he had a reputation as being a bit of a provocateur, someone who liked pushing boundaries. It was many years later, shortly after graduating drama school and being cast in a stage adaptation of his holiday stories, that I learned that he was much more than his public persona. He was a true literary genius, with extraordinary range. The stories from his childhood featuring his eccentric cousin Miss Sook Faulk are beautifully written and deeply moving.

JHPENTERTAINMENT: Speaking of introductions, ABC’s recent drama series, Nashville may have served as an introduction to you for millions of TV viewers, but those of us in the actual town of Nashville have known you through your theatrical works for years. In fact, just last month you celebrated the 20th anniversary of your play, Spirit: The Authentic Story of the Bell Witch of Tennessee. Before we get into A Holiday to Remember, What was it like to revisit Spirit as director again this year?

DAVID ALFORD: Rewarding and humbling. I wrote and directed the first production in 2002, and then directed a revision I did in 2008. Other than that, I have been involved only as an unofficial advisor from time to time until this year. The group behind the production, CSI (Community Spirit, Inc.) has not only kept the show going every year, but they’ve grown the play into a month-long festival. The show’s success is really a testament to their commitment and hard work. Every performance this year was sold out. I’d look into the audience and see men in John Deere caps seated next to women in business attire with a few occultists thrown into the mix. It’s hard to describe the sense of gratitude I feel looking at an audience of people from wildly different backgrounds seated next to each other and experiencing the same story. It’s become its own unique phenomenon.

JHPENTERTAINMENT: Now on to A Holiday to Remember. Over the years you’ve presented a variation of this show from time to time. If memory serves, I believe it’s been 30-some years since you performed A Southern Christmas Sampler and about a decade since the former iteration, Christmas Down Home was presented here in Music City. What prompted you to revisit and revise it this year at Belmont and to include not only A Christmas Memory, but also Capote’s other holiday offering, The Thanksgiving Visitor?

DAVID ALFORD: I stopped doing A Christmas Memory mainly because of my commitments to the TV show. Then I moved away for a while. I’m back home now and it felt like the time was right. I’m a little older and can bring a little more life-experience to it. Plus, I’ve missed doing the piece. I still feel very connected to it. As far as pairing it with The Thanksgiving Visitor, we actually did it before in 2004 when I was Artistic Director at Tennessee Rep (now Nashville Rep) in the Polk Theatre at TPAC. It went well, though I thought the show might have worked better in a more intimate space. This is a chance to try that. Plus, it’s an opportunity to work my memorization muscles a bit. With both pieces, it’s me doing Capote’s words for about an hour-and-a-half. I like the challenge.

Composer/Guitarist Paul Carroll Binkley’s music accompanies David Alford’s storytelling in “A Christmas Memory”

JHPENTERTAINMENT: As you have done in previous incarnations, you’ve once again enlisted the talents of your friend, Paul Carrol Binkley whose original music is featured. How did you and Paul first connect?

DAVID ALFORD: I met Paul in 1985 at Austin Peay Statue University in Clarksville, where we were both students. He became the guitarist and band leader for a group I’d earlier formed with some high school friends called The Red River Boys. We gigged a lot together, and of course Paul was already composing and playing his own music at the time. Right before I went to Juilliard, he was the music director for a production of The Robber Bridegroom I was in at APSU, and he really knocked it out of the park. So I knew he had theatre chops. When I came back to Nashville in 1994 to start Mockingbird Theatre, Paul was one of the first people I called. He did the music for our second production, Tennessee Williams‘ The Glass Menagerie, and that started a long and successful working relationship. When I had the idea to do A Christmas Memory as the centerpiece for a potential Mockingbird holiday show (which became our Southern Christmas Sampler) I asked Paul to create some underscoring for it. He did, and it was perfect. Those original musical ideas have become an irreplaceable part of the performance for me. I can’t imagine doing the piece without Paul. I still get choked up every time I hear him play the opening phrase.

JHPENTERTAINMENT: This isn’t the first time you’ve performed at Belmont Mansion in the Grand Salon. What makes it such an ideal venue for these stories?

DAVID ALFORD: Well, it’s an incredibly evocative space, and the acoustics are excellent. Both pieces are about Truman’s childhood and set in the early 1930s, and though Belmont Mansion was around long before that, there are still echoes of the past that help underscore the context. And while I love working in traditional theaters, sometimes matching content with an appropriate nontraditional performance space can really resonate with an audience. I think this show in the mansion does that pretty well.

JHPENTERTAINMENT: For those who may not have seen your previous presentations, what can the audience expect?

DAVID ALFORD: The show is me doing Capote’s text uncut from memory with Paul’s original underscoring. The Thanksgiving Visitor is first. It has a four-piece combo and is a little more energetic in feel with me mostly on my feet. For A Christmas Memory, we’re performing it the same way we have since the beginning: I’m seated on a stool, with Paul in a chair just behind. It’s me, Capote’s words, and Paul’s guitar.

JHPENTERTAINMENT: Aside from Buddy, the young boy at the center of both The Thanksgiving Visitor and A Christmas Memory, both stories feature his Cousin, Sook, an eccentric relative, and Buddy’s best friend. Research also revealed that you once cited your grandmother as your voice inspiration for your Sook. What can you tell me about finding the voice for each of the characters?

DAVID ALFORD: Good question! Thankfully the stories are mostly Capote’s narrative prose, so I don’t have to do a huge amount of vocal characterization. It’s mostly Sook and Buddy (her nickname for young Truman) with a handful of other characters sprinkled in. The challenge is to honor the text and what Capote’s trying to accomplish from a narrative perspective, while finding voices that stay true to the setting (a small town in the depression-era Deep South). And then within that framework, to find enough variation so the audience doesn’t get confused. Mostly it’s a lot of experimentation and trying to use as much of my vocal range as I can!

JHPENTERTAINMENT: On the subject of voices and characters, Capote, himself was quite a character and he possessed a very distinctive voice. I mentioned earlier the mid-60s teleplays. Capote served as narrator for those, so I gotta know…do you narrate in a Capote-esque voice?

DAVID ALFORD: I do not, for a couple of reasons. First, I think trying to replicate Truman’s voice calls too much attention to the performer and not enough to the words on the page. Instead, what I try to do in the narration is present Truman’s literary voice, his written voice, which is substantially more expressive and has greater range than his speaking voice ever did. His writing in these stories is masterful: funny, lyrical, and at times breathtakingly beautiful. I wouldn’t want any impression I did to get in the way of that. There’s definitely a specific southern flavor of course: accent, playfulness, and wit, but less affectation. But also, from a practical perspective, I think the more important voice is Sook’s and the other characters, and it’s hard to imagine someone with Truman’s voice being able to alter their tonality enough to make those voices convincing. So you’re either doing Truman all the way through (including the other character’s voices) or you’re finding the voices of the other characters and making the narration more neutral. I don’t think you can do both. So I do the latter.

JHPENTERTAINMENT: Oh, I knew we should have gone ahead and done a full Rapid Fire 20Q, but I didn’t want to take up too much of your time…so….Can you share a little about cherished holiday memories of your own?

DAVID ALFORD: Well, of course, I have many, most of them from my childhood and from people that are gone now. My dad rarely provided the things on our Christmas lists, but he always made it special. He was a pastor, and this was his favorite time of year. One of the things that brings people back to A Christmas Memory is that Capote acknowledges the full range of memories of the people we love who are no longer with us. Those memories can be funny, touching, sweet, warm, awkward, joyful: but they can also make us feel a keen sense of loss. Leave it to his genius to be able to encapsulate all that in a short story. But to answer your question directly, and at the risk of sounding schmaltzy, the truth is that many of my most treasured holiday experiences have been sharing this story with a roomful of fellow human beings.

JHPENTERTAINMENT: I usually end these chats with basically the same question…What do you hope audiences take away from seeing A Holiday to Remember?

DAVID ALFORD: That Truman Capote is an under-appreciated genius and one of the greatest writers of the 20th century. That all people, no matter how odd, eccentric, or marginalized, have value and can teach us something. That love always makes a difference.

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David Alford’s A Holiday to Remember begins Wednesday, November 23 with subsequent performances November 25 & 26 and December 1,3,15 and 16. All Performances begin at 7:30 p.m. and will take place in the Grand Salon on Belmont Mansion (On the campus of Belmont University at the corner of Acklen Avenue and Belmont Blvd- behind Freeman Hall, 1901 15th Ave S., Nashville, TN 37212) Tickets to each performance are $45 and include lite refreshments and a peek at the holiday decorations of the Mansion’s first floor. CLICK HERE to purchase tickets. For more about David Alford, CLICK HERE. If you’re interested in learning more about Belmont Mansion or perhaps scheduling a full tour during the holiday, CLICK HERE.

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 Facebook, Instagram and 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 Cake’; regional premiere at Nashville Rep October 21-30

October 21, 2022 by Jonathan

Directed by Lauren Shouse, 0pening Friday, October 21 and running through Sunday, October 30, Nashville Repertory Theatre presents the regional premiere of Bekah Brunstetter’s The Cake at TPAC’s Andrew Johnson Theatre (505 Deadrick Street). While perhaps best known for her writing and producing duties on the popular NBC drama, This Is Us, which garnered her and her fellow producers three consecutive Emmys from 2017-2019, Brunstetter’s also enjoyed success as a playwright. Her previous stage plays include: F*cking Art, Miss Lilly Gets Boned and Be a Good Little Widow. From the titles alone, you might surmise that the playwright pulls no punches. The Cake, which premiered in Los Angeles in 2015 and featured That 70s Show’s Debra Jo Rupp, with is simple sweet title and all, just might follow suit, considering the play was inspired, in part by her own father’s opposition to same-sex marriage and the headline-making Supreme Court case of Masterpiece Cakeshop vs Colorado Civil Rights Commission. The Cake centers ‘round Della, a kind, but conservative North Carolina baker who finds herself at an unexpected conscience crossroads when her goddaughter returns to her small town to ask Della to bake her wedding cake…for the wedding to her fiancée.

When I learned that one of my theatre crushes, Megan Murphy Chambers was heading the cast, I knew I had to chat with her and her co-stars for the latest installment of my recurring interview feature, Rapid Fire 20 Q.

RAPID FIRE 20Q WITH CAST OF NASHVILLE REPERTORY THEATRE’s THE CAKE

RAPID FIRE WITH MEGAN MURPHY CHAMBERS, DELLA IN THE REP’S THE CAKE

JHPEntertainment: Tell me everything we need to know about Della, the character you play in The Cake, The Rep’s latest production…

Megan Murphy Chambers: Della is a beautiful challenge. There are elements of her personality that are so easy for me to access – she’s friendly, enthusiastic, authentically interested in people, and loving. The acting starts when her deeply ingrained but rarely examined belief system stops her from showing an adored friend the respect and love they deserve when they need it most. There’s not an intentionally mean bone in Della’s body, but she’s short on backbone (mean or otherwise). I like to think about what might transpire in the 6 months after the play is over for her. I have high hopes for her, and her capability to open her heart and mind.

JHPEntertainment: While researching the show to prepare these questions for you and your fellow cast mates, I found the opening monologue script on line. During which, Della explains that you must follow the recipe exactly to ensure the perfect cake. This seems to pretty much lay out the thought process behind her character’s way of life and decision-making. A a general rule, are you yourself a recipe follower, a recipe adapter or a recipe creator? Feel free to answer this as it relates to the kitchen, or life as a whole.

Megan Murphy Chambers: Oh I am a recipe adaptor for sure. I’ll follow the directions enough to make sure whoever I’m feeding doesn’t end up with a plate of undercooked chicken, but in terms of the rest? All bets are off! I like cooking more than baking precisely because of the greater degree of freedom you have. And the greater degree of garlic. In life, I tend to be a rule-follower and people-pleaser, but that tendency lessens every single day. Which feels wonderful, to be honest.

JHPEntertainment: Now, I know you graduated from the University of Missouri, which, depending on who you ask, is either the midwest, or the south, and you’ve been in Nashville for some time now. Have you met any real life Dellas and might we see hints of them in your performance?

Megan Murphy Chambers: First of all, MIDWEST. I will not be taking questions at this time 🙂 I’ve lived all over the country, and have met Della-ish people everywhere. People with huge hearts that are coupled with years of a certain kind of shame and pressure. I carry pieces of some of them on stage every night, all of which help make her colorful. This one’s unfailing politeness, that one’s hypervigilance about “outsiders”, another one’s casual affection.

JHPEntertainment: From what I know, Della, though she is staunchly faithful to her convictions, isn’t made to appear the villain in this piece, but rather a sympathetic product of her environment. Is that a fair assessment? Why or why not?

Megan Murphy Chambers: Definitely a fair assessment. The brilliance of this writing means that throughout the play, we’re given reasons to root for every character, and reasons to feel disappointed in every character. Della maybe most of all. In my heart, I’m certain she’s making the wrong decision. But the generations of voices that echo in her head all day every day make it challenging to blame her in any simple way. We want to like her. We want her to do better.

JHPEntertainment: The show is titled The Cake, so I gotta know…do you have a sweet tooth? If so, what’s your favorite kind of cake? If not, what do you snack on instead?

Megan Murphy Chambers: I do indeed have a sweet tooth, but it’s not as powerful as my salt tooth. Cake is scrumptious, and it’s all I’ve thought about for the last month. I either want a spice cake with vanilla buttercream, or a classic Duncan Hines yellow cake from a box (don’t tell Della it’s not from scratch).

RAPID FIRE WITH CHRIS STRAND, TIM IN THE REP’S THE CAKE

JHPEntertainment: Alright, I tried not to gush while chatting with Megan, but just between us, how lucky are you to share the stage with one of my theatre crushes?

Christopher Strand: Very lucky! Megan is the heart and soul of this show and takes the audience on a hysterical and heartbreaking journey all at the same time- she can make you laugh out loud one minute and cry crocodile tears with her innate vulnerability the next- honored to share the stage with her!

JHPEntertainment: How would you describe Tim?

Christopher Strand: Tim is an amiable good ol boy who just happens to be a product of his upbringing and social environment- his beliefs have most likely been formed by his religious upbringing and casually soaking up Fox News and Incendiary right wing radio over the years- still he loves Della deeply and is a good hard working man who just happens to use food and humor as a substitute for the lack of Intimacy in his marriage.

JHPEntertainment: In researching to chat with you and your cast mates, it seems to me The Cake playwright, Bekah Brunstetter’s approach of using humor to spotlight a rather serious topic might have roots going back to classic sitcoms like All in the Family and The Jeffersons. Am I anywhere near close in that comparison? And why do you think that works?

Christopher Strand: Yes I think you’re close! Because even though Della and Tim are rather rigid in their beliefs , they are lovable characters , which persuades the audience to go on a sometimes difficult emotional journey with them- much like Archie Bunker , the audience is able to laugh at or with their imperfections and narrowminded-ness without necessarily agreeing with them!

JHPEntertainment: Are you a cake or pie guy in real life?

Christopher Strand: both unfortunately ! love most kinds although it may be somewhat unAmerican but I can’t do pumpkin pie sorry! banana cream, pecan pie, any kind of fruit pie- shoot I guess I am a pie guy!

JHPEntertainment: What’s one of your favorite lines in the show…yours or that of one of your fellow cast mates?

Christopher Strand: Jen says ” I don’t need you to make me a cake , I need you to LOVE me!” to me that sums up the show as much as one line could if possible

RAPID FIRE WITH MARIAH PARRIS, JEN IN THE REP’S THE CAKE

JHPEntertainment: What was it about the role of Jen that moved you to audition?

Mariah Parris: I had seen Lauren’s work before and knew working with her would be awesome, if given the chance. I was also excited to potentially work on a script with such a contemporary voice. I’ve never had the pleasure of working on a character so close to myself and feeling like I could bring so much of my own “isms” to the performance.

JHPEntertainment: As Jen, you share scenes, and an on-stage relationship with Maya Riley. You both appeared in The Rep’s Ragtime earlier this year. What is she like as a scene partner?

Mariah Parris: Maya and I used to do theatre together when we were little kids at Metro Parks with Carolyn German, and reconnected as adults when we both worked on Ragtime. We discovered that we still get on like a house on fire, so the biggest challenge with working with Maya has been to not interrupt rehearsal by laughing too much. She is an awesome scene partner and friend.

JHPEntertainment: While the show touts a cast of only four characters, there’s really a fifth, isn’t there? Care to give me an exclusive…who’s providing the voice of George, the reality show judge who’s only heard in voice-over?

Mariah Parris: Jonah Jackson is brilliant as the voice of George. He is a very accomplished and talented stage performer (last seen in The Rep’s Mary Poppins) and I’m so glad he’s getting a chance to show off his voice acting chops!

JHPEntertainment: As a kid, my birthday cakes were always a thing to behold as Mom would get the craftiest cake decorator around to recreate thematic delights featuring whatever my current obsession was, including, but not limited to: Star Wars, a Grease (the movie, not the frying additive) logo cake, a sheet-cake featuring the likeness of Miss Piggy and in my later years, as I began collecting Lucille Ball memorabilia, more than one cake decorated with classic images of I Love Lucy…Did you have theme-decorated cakes? If so, what was your favorite?

Mariah Parris: My lovely mom and dad went all out when I was a little girl- one year Barbie, one year Barney, and I’m sure there were many others though the memory escapes me now.

JHPEntertainment: Is there a moment in the show you think audiences will remember after leaving the theatre?

Mariah Parris: there are several beautifully emotional moments in the show that will resonate with different people, and it is my hope that each person leaves feeling like there was a moment that resonated with them specifically that they’ll never forget. Personally, I’ll never forget MMC hand feeding me carrot cake on stage—what a treat.

RAPID FIRE WITH MAYA RILEY, MACY IN THE REP’S THE CAKE

JHPEntertainment: This has been quite a year for you. You’ve just wrapped your fabulous starring role as AIDA, a performance everyone was raving about. Of course you started the year in Nashville Rep’s Ragtime and now you’re back at The Rep in The Cake. How excited are you for this momentum in your career as a performer and how are you keeping it going while keeping yourself grounded?

Maya Riley: Thank you so much! It’s been quite an unexpected journey, because I had planned to stay in New York City after graduating from NYU. I was just starting my career there when COVID hit, and after the theatre world basically stopped I moved back down here. I’ve really just started to get back into performing, and I’m so grateful that things are opening up again. Being back in Nashville feels right. I’m surrounded by family and friends that I love. It blows my mind that I get to do this work. The little kid in me is squealing every day. Just in the past few months, I’ve gotten to work alongside people in this theatre community that have taught me most of what I know: how to act, how to sing, how to dance, how to be gracious, how to be hard working, how to be professional. Performing beside some of them as a colleague, as well as sharing the stage with Broadway stars in AIDA, is a great gift. And performing at TPAC twice in a row? That’s almost as good as Broadway. I’m learning so much about myself, the craft of performing, and the industry. I’m just trying to soak in everything and take it one day at a time.

JHPEntertainment: What was your reaction to first reading the script for The Cake?

Maya Riley: I read the script the night before my callback. I wasn’t familiar with the play, but I’d heard of the playwright because of her work on the TV series This Is Us. When I read it, I got excited immediately. It’s so smartly written. The words jumped right off the page and grabbed me. These are people you know, this is the way people talk, these are issues we’re dealing with right now. That is a beautiful challenge as an actor. Lauren’s visionary and supportive direction is making me a more focused and engaging performer. My castmates are such a joy. I’ve known Mariah since we were kids performing in community theatre productions. Chris is a superb actor and wonderful to work with. And Megan is Nashville theatre royalty and so much fun! Having the opportunity to present this play with this lovely group of people is an honor.

JHPEntertainment: You play Macy the fiancée of Parris’ Jen. Jen’s White, Macy’s Black, they’re lesbians. She’s from the south, Macy’s a northerner. How important is it for you as an actress to take the occasional role with a message, even if, as in the case of The Cake, those messages might be sugar-coated (see what I did there?) in humor?

Maya Riley: For me, it’s incredibly important to tell stories that deal with current events, things that are happening today. I think people need stories that are simply entertaining, and also stories that are somewhat difficult to process. You need both, I think. There are a lot of projects that are one or the other. Not many plays can do both. This is what I love about The Cake. It will entertain you and have you rolling on the floor laughing one minute, then questioning that one interaction with your odd relative the next. It allows for you to be entertained while also sitting in some discomfort. I relish the opportunity to tackle a play that splits this difference so effortlessly. I’m so excited to see how audiences respond.

JHPEntertainment: While you grew up here in Nashville, after high school, you relocated to to New York, more than a few parallels with Macy. Have those similarities helped you develop her as a character?

Maya Riley: I think they have. When I lived in New York, I definitely had to develop that thick-skin, no-nonsense, demeanor. I also know what it’s like to come back down south and have to, let’s say, “readjust” to how things are down here. Which is something I can immediately connect with Macy. Honestly, Macy wasn’t a stretch for me to understand because our experiences are so similar. We belong to the same demographic, in more ways than one. I definitely think that being a southerner who has lived in New York helped me understand her. But I think I would have understood her anyway just because of our similarities. I know what it’s like to be a Black, queer woman in America. In that way, I know her pains, her hesitations, her joys, her comforts. Playing this role, in a way, is like communing with my mirror image. We got each other’s back, as we go through this play every night. At least, that’s how I like to think of it.

JHPEntertainment: What do you hope audiences take away from The Cake?

Maya Riley: I hope audiences take away a slice of cake and have a layered experience (wink)! The foundation of this play is love, which is what makes the stakes so high and the conflict so tense. The Cake is really a conversation in the shape of a play. My wish is that audiences truly take a bite, ride the waves of anger, laughter, and sorrow with us, and leave the theater with love and a deeper understanding of themselves or someone they care about.

For tickets to The Cake, CLICK HERE. Following their presentation of The Cake October 21-30, Nashville Rep continues their season with Elf: The Musical December 21-January 1, August Wilson’s Fences March 3-5, The Curious Incident of the Dog in the Night Time March 24-April 2 and Violet May 12-21. Season Tickets just went on sale earlier this week. CLICK HERE to purchase Season Tickets or for more info. Check out Nashville Rep online HERE and follow them on Facebook, Twitter, YouTube and Instagram.

Rapid Fire 20Q with cast of the Larry Keeton Theatre’s ‘Blithe Spirit’; Noel Coward classic onstage October 14-30

October 12, 2022 by Jonathan

It’s been quite some time since I’ve attended a show at The Larry Keeton Theatre, one of Nashville’s only, if not the only remaining Dinner Theatre, so you can imagine my delight when a friend, who just so happens to be one of the theatre’s board members, reached out extending an invitation to come see their upcoming production of Noel Coward’s high-spirited classic, Blithe Spirit. I then inquired if they’d be willing to have some of the cast take part in the latest installment of my recurring interview feature, Rapid Fire 20 Q. Given the fact that even before I began writing about theatre more than a decade ago, I was a season subscriber at the Keeton and have always enjoyed their productions, I’m thrilled to be writing about them again. To that end, what follows are my conversations with Erin-Grace Bailey, Abby Waddoups, Aaron Gray and Drew Ann Davis Borsos, just days before they open at the Keeton Theatre in Blithe Spirit.

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RAPID FIRE 20Q WITH CAST OF THE KEETON THEATRE’s BLITHE SPIRIT

RAPID FIRE WITH ERIN-GRACE BAILEY, ELVIRA IN BLITHE SPIRIT

JHPEntertainment: What can you tell me about Elvira, the character you’re playing in The Larry Keeton Theatre’s production of Noel Coward’s Blithe Spirit?

Erin-Grace Bailey: Charles refers to Elvira as “rather light and irresponsible,” which I think is a great way to describe her. She’s just a joy to play. To me, in her life, she would have been the person to arrive fashionably late at a party and just completely light up the room. She’s witty, feminine, and she isn’t afraid to say whatever comes to her mind.

JHPEntertainment: Playing Elvira and apparitions in general aren’t a new phenomenon to you are they? Tell me a bit about your side gig as a Ghost Tour guide?

Erin-Grace Bailey: Indeed. It’s kind of funny. I applied to be a tour guide with the ghost tours because I am a huge history nerd and always thought being a tour guide would be fun (and it is). I lead walking tours of some haunted historical sites and get to share Nashville history and ghost stories a couple times a week. The gig has sort of led me into getting involved in a lot of entertainment on the spookier side as well, including murder mysteries, a show based on the works of Edgar Allen Poe, and now Blithe Spirit. Ironically, I scare very easily, and if you’d have told me five years ago that a lot of my current work would look like it does now, I would have said you are dead wrong!

JHPEntertainment: What’s been the most fun aspect of playing a ghostly figure?

Erin-Grace Bailey: Elvira is unapologetically who she is. She gets to do and say whatever she wants, and, aside from her husband, no one else witnesses it. Playing a ghost takes away these life or death stakes we see so often in plays, and she really gets to let loose. It’s not very often we get to do something like that as actors.

JHPEntertainment: I understand this is your first show with the Keeton Theatre. What’s the experience been like so far?

Erin-Grace Bailey: It has been so lovely, and I’ve been so grateful to get to know and work with these people. I’m thankful to Donna for trusting me to take on this role and perform this text. Everyone on this team has been so supportive since the beginning. I can’t wait for the audience to see all of the love that’s been put into every aspect of this project – from the acting, to the set, to the sound design, and more.

JHPEntertainment: While it’s your first Keeton show, this isn’t your first time appearing in a work written by the great Noel Coward, having played Julia in a production of Fallen Angels. Prior to our chat you indicated Coward is your favorite playwright. What is it about his style that you enjoy?

Erin-Grace Bailey: The first time I was exposed to Noel Coward, I was in an acting class in undergrad. I was assigned a scene from Blithe Spirit, playing Madame Arcati actually, and I had a terrible time of it at first. Coward writes like you’re on a racetrack, and you don’t stop unless it’s absolutely necessary to change the tires. I had several acting classes end in tears, but once it clicked with me, I felt like it really clicked. I’ve adored him ever since. Coward’s scripts are written very intentionally. The wit in his dialogue is unmatched, and he leaves enough of his scripts up to interpretation that his works have remained relevant for the past hundred years. One of my favorite things about Blithe Spirit specifically has to do with the way he has written the female characters, particularly Ruth and Elvira. They completely juxtapose one another, yet neither of them are perfect. There aren’t these unrealistic expectations of perfect beauty or manners in either of them. I love getting to play a character who is incredibly light and feminine but also quick-witted, confrontational, and outright funny. Female identifying characters from the time period this play was written are often meant to be one thing or another, and part of why I think Coward’s works are still so cherished is that a great deal of his characters don’t fall into this trap.

RAPID FIRE WITH ABBY WADDOUPS, RUTH IN BLITHE SPIRIT

JHPEntertainment: In the Larry Keeton Theatre’s production of Noel Coward’s Blithe Spirit, you play Ruth. How would you describe her?

Abby Waddoups: Ruth is a devoted wife to Charles and considers her position of wealth and managing their household very important. Her whole world is shook when Charles believes he sees the ghost of his first wife, which continues to live with them for several days. She is naturally upset and emotional about the whole ordeal.

JHPEntertainment: As Ruth, you get the fun opportunity to play two aspects of the same character, one–her earthly human form, the other–her ghostly incarnation. Are there subtle differences in the way you play her in each of the two configurations?

Abby Waddoups: Yes, Ruth definitely has a range of emotions throughout the show and those are the best characters to play. The difference in live Ruth and spirit Ruth are great. Our director, Donna Driver, has pushed the spirits to be fun and light. I take this as the worries in the real world have been lifted from Ruth’s shoulders in death. By accepting her death, she is able to be more carefree.

JHPEntertainment: The original script sets the action in the English countryside. Accents can always be an issue with local productions, so I’m wondering…Did the cast work with a dialect coach Or has the setting been changed?

Abby Waddoups: The Keeton theatre decided to change the setting and time period of this production. They apparently have other British farces set at the same time and thought their audience would get tired of it. The setting has been changed to 1980s Dallas. It is still in keeping with the British humor, but with small changes of locations.

JHPEntertainment: Like Erin, this is also your first time doing a Keeton show, so I’ll ask you the same question I asked her. What’s it been like thus far?

Abby Waddoups: Working at Keeton has been great! The people are all very nice and professional. The stage is on the larger side and deep for a community theatre, so that’s fun. The theatre itself has a good reputation around town and is an important part of their community. Audiences should be large and I’m sure they will enjoy the show!

JHPEntertainment: Since Blithe Spirit features a couple of séances…If you could summon the ghost of any famous person, who would it be and what would you asked of them?

Abby Waddoups: Wow, that’s an interesting question that I’ve never thought of before… of course their are multiple classic actors who would make my list, but my first instinct goes to a specific rock star, David Bowie, and I’d ask him to play a duet with me.

RAPID FIRE WITH AARON GRAY, CHARLES IN BLITHE SPIRIT

JHPEntertainment: You play Charles, a man who’s visited by not one, but two ghosts, both of whom were married to him. Describe each of your two leading ladies in three words each.

Aaron Gray: Well to begin with these two ladies are great to share the stage with. Their performances counter and compliment one another comedically. It has been awesome to work with them.

Abby Waddoups, who plays Ruth, is powerful, surprising, and engaging on and off stage. Erin-Grace Bailey as Elvira is fierce, exciting, and witty in everything she does.

JHPEntertainment: Blithe Spirit is typically set in 40s, the time period during which it was first presented on stage. A quick look at rehearsal images reveals your longer hairstyle isn’t exactly period-authentic. I was going to ask you about that, but while chatting with one of your costars, the aforementioned Abby, about whether or not there was a dialect coach to aide with the British accents, she revealed that your production is no longer set in England, nor the 1940s. So instead I’ll ask…what do you think of the director’s decision to update the timeframe and the locale?

Aaron Gray: Great question. Our director had the idea to set the play in 1980s Dallas before we even had auditions. This is a cool spin on the play and gives it a new unique style. Charles only has a few published books, but i see him as if he thinks he is some sort of new celebrity. His recent success inspires him to keep his hair long as he likes to think he is living the 80s “rockstar” lifestyle. I was willing to cut my hair for the role if needed, but after some character development and the vision of Donna, I think the hair fits the show we are going to portray.

JHPEntertainment: Keeton patrons will no doubt recognize you as you’ve been in a few shows there. What is it about the Keeton that keeps you coming back?

Aaron Gray: After graduating from MTSU with a bachelors in theatre in 2019, the Keeton was the first theatre I auditioned for. I was cast in Mamma Mia just before the pandemic hit. When that production finally opened after being on hold for over a year, I found a family and community here that I fell in love with. For me, the Keeton isn’t just about the shows we build onstage, its about the friendships we build backstage, too.

JHPEntertainment: What’s your favorite characteristic of Charles?

Aaron Gray: Charles is an interesting character because although he is funny and relatable, he also has selfish and unlikable qualities. I personally aspire to live as a generous and good person, so to play a character like Charles has been a fun change of pace. Playing Charles’s more selfish and indignant motivations throughout the play is what makes playing him so interesting and fun.

JHPEntertainment: Charles is a novelist struggling for inspiration for his next work. If you were to write a novel, what would it be titled and what would it be about?

Aaron Gray: I used to love creative writing in school, so portraying a novelist has reminded me of those days. I would have to say that I would write a children’s story. I have a 3 year old son that means everything to me. He inspires me to tell stories and create art that means something. So, to create a story that he’d love would mean a lot to me. It would be about growing up and embracing who you are no matter what life throws at you. I would call it The You That You Are. I would want my son to know that no matter what anyone says, the best thing he can be is himself.

RAPID FIRE WITH DREW ANN DAVIS BORSOS, MADAME ARCATI IN BLITHE SPIRIT

JHPEntertainment: You’ve got the scene-stealing plum role of Madame Arcati, a role originated on the stage and in the classic 1945 film adaptation by Margaret Rutherford and subsequently by everyone from Geraldine Page and Angela Lansbury to Jennifer Saunders and, in the current 2022 film, Judi Dench. Those are some big turbans to fill. How do you feel you’ve made her your own?

Drew Ann Davis Borsos: I am tickled pink to play Madame Arcadi! I love physical comedy and playing eccentric, quirky characters. My last role was Daisy in Driving Miss Daisy. Her character was sedate, dignified, and reserved. My director, Vickie Bailey, had to reign me in constantly! I am thrilled to be able to go all out for Madame Arcadi! Our director, Donna Driver, has given me room to make Madame Arcadi bigger than life. Is she an act, or is she the real deal? She is passionate, boisterous, and self assured. Margaret Rutherford’s own personal characteristics along with Noel Coward’s words, made that part comical for which she earned an Oscar. But, I can’t imagine her, or Judi Dench, jumping, running, and throwing themselves on the furniture, or Angela Lansbury being overly melodramatic. I was sorry to hear that Angela Lansbury passed over this week.

JHPEntertainment: Since you play a medium, What are your thoughts on ghosts and such, and Have you ever attended a seance?

Drew Ann Davis Borsos: I would never be part of a real life seance, or go to a Fortune Teller, or seek out someone who talks to your deceased loved ones. My character talks to the dead! I have learned that there are different kinds of ghosts in the spirit world…Poltergeists, Emanations, Elementals, etc! My personal belief is that the spirit world is very powerful, very real, and not something to be mocked. Ghosts stories, movies, and plays can be entertaining, but let’s not forget that there is a dark power at work in the world, and it is deceptive. But, as far as participating in Halloween is concerned, it is about opening your doors to your neighbors and getting candy!

JHPEntertainment: As mentioned above, Madame Arcati is easily the most-desired role in Blithe Spirit. Had you not been cast as her, is there another role, regardless of whether you fit the ‘type’ or not, that you’d love to also play?

Drew Ann Davis Borsos: If I had not been cast as Madame Arcadi, I would love to play the role of “Edith”. Edith can be any age, and any gender. I love the the awkwardness and naivety of the character. Also, there are less lines to memorize!

JHPEntertainment: Has it really been a decade since you starred in the Keeton Theatre’s production of Lend Me a Tenor? The theatre has gone through a number of changes since then. What do you think is the best aspect of the current support system and crew at the Keeton?

Drew Ann Davis Borsos: There are a lot of improvements in the building and the theater, which had to be a joint venture with the staff and volunteers over the years. It is more secure and we now have a bathroom backstage!! I noticed right away that there is more organization and communication between the Staff, Board Members, Director, and Crew. It is not everywhere that an actor can walk into the first rehearsal and have a set already done, and costumes and props already provided. That gives us time to learn lines and to deliver a well rehearsed performance. I’m pleased to see in the last few years, there have been more staged plays, and not just musicals. The Larry Keeton Theatre is not just the community theatre hidden behind the Senior Center, but it is now a prime Nashville attraction.

JHPEntertainment: Blithe Spirit is celebrating its eighth decade since it was first staged. What is it about the show, and Noel Coward’s brand of comedy hijinks that makes it just as enjoyable today as ever?

Drew Ann Davis Borsos: Words, Words, Words! It is rich in vocabulary and every sentence is full of little gems. There is a beauty and art form in the way he constructed sentences. Most of us these days don’t know how to talk so eloquently. Or, is that just a British thing! The audience feels for the leading man and lady who gradually lose control of the situation, and has to rely on a bumbling clairvoyant, who got them into this mess in the first place, try to get them out of it. And who wouldn’t love to see the special effects and portrayal of ghosts on screen or in live theater?

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As Borsos’ Madame Arcadi’s says, Who wouldn’t love to see it. To catch Blithe Spirit during its three-week run onstage at The Larry Keeton Theatre (108 Donelson Pike, Nashville, TN 37214).For more information or to Purchase Tickets, CLICK HERE or call the box office at 615.231.1231. Adult Dinner and Show tickets are $35. Child Dinner and Show tickets are $25. Show Only tickets are $30 and $20 respectively. There is a special Pay What You Can Industry Night for fellow actors and crew who might not be able to make the weekend performances due to their own shows about town. For Blithe Spirit, Industry Night is Wednesday, October 12 with doors at 6:30p.m. and curtain at 7p.m. Industry Night show only tickets are a suggested $15. During the run, the schedule is as follows: Thursdays-Doors at 6:30p.m./Show at 7p.m. (Thursdays are Show Only days). Fridays and Saturdays-Doors at 5:45p.m./Dinner at 6p.m. and Show at 7p.m. Sundays-Doors at 12:45p.m./Lunch at 1p.m. and show at 2p.m.

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

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

Rapid Fire 20 Q with vocalist Lisa Stewart; Performing a Jazz Set at Analog at the Hutton Thursday, August 4

August 3, 2022 by Jonathan

Singer/songwriter/actress/TV host, when it comes to Lisa Stewart, there’s nothing this talented beauty can’t do. What’s more, while she did indeed get her start in 90s country, she’s not one to stick with one genre. To that end, she’s teamed with a group of talented musician recently to form to provide lead vocals to a jazz ensemble who’ve played Analog at The Hutton ((1808 West End Ave, Nashville) several times over that past few months. This Thursday, August 4, Lisa and her band will be back for another jazz set at 7p.m. Having known Lisa for several years, I figured it was high time we chatted for my latest Rapid Fire 20Q.

JHP ENTERTAINMENT: As I mentioned in my intro to our chat, you’re returning to Analog at The Hutton Thursday, August 4 for another jazz set. You’ve played Analog a couple other times recently…is this becoming a regular thing?

LISA STEWART: Yes, it is! The Hutton is owned and run by creative people who love music. I’m very fortunate that they have taken me in as a sort of a “regular” on an irregular basis.

JHP ENTERTAINMENT: Some folks might know you musically as a country artist, having released your solo country project in the early days of your career, but even back when you were a frequent guest on TNN’s Music City Tonight, you’d occasionally do a jazz vocal. A sultry version of Fever comes to mind. Have you always been a fan of jazz?

LISA STEWART: Ah! Thank you for remembering that performance of Fever…that was so much fun! I’ve loved jazz standards for as long as I can remember! It was actually a jazz/piano vocal of My Funny Valentine, produced by Byron Gallimore, that opened the door to a meeting with Joe Galante in NYC. During that meeting he gave me the “thumbs up” to sign with BNA Records, a division of RCA.

JHP ENTERTAINMENT: Who are some of your favorite jazz vocalists?

LISA STEWART: I think Billie Holiday has one of the most identifiable voices across all genres. I’m a big fan of Sarah Vaughn, as well. Ah, and Julie London. But, my heart draws a straight line to Chet Baker.

JHP ENTERTAINMENT: While doing a little digging to chat with you, I discovered you first performed at a very young age in church. What do you remember about those days?

LISA STEWART: I began to sing my first solo performance after my mother dropped the needle on a 45 record of He’s Still Working on Me. When the song ended, I experienced an “Ah-ha” moment. I was 6 years old, felt the love from the audience, and knew what I wanted to do with my life.

JHP ENTERTAINMENT: In addition to music in church, did you grow up in a musical household?

LISA STEWART: My mother is a pianist and organist. She can read any piece of music you put in front of her. She and I had so much fun playing and singing together. My dad always dreamed of singing on The Grand Ole Opry. As a little boy, he would hide under the covers and listen to The Opry on Saturday nights. When I shot one of my music videos at The Ryman, Dad finally got walk onto that historic stage. It was one of my sweetest memories.

JHP ENTERTAINMENT: I can relate. My dad never really knew any ‘new country’ artist I worked with, but when I told him I worked with George Jones, I felt like he was more proud of me then than ever before. Something else you and I have in common, we’re both from small southern towns. You’re from Louisville, Mississippi. What memories of your childhood there do you hold dear?

LISA STEWART: There are so many. It was a simple, southern, small town life. Some of my fondest memories were holding my dad’s hand and walking to church. Afterwards, I’d go to “the singin'” with my grandparents. We’d go fishing on weekend and go swimming with the snapping turtles at Lake Tiak O’Khata. My folks always had a big garden and I loved picking strawberries. I was surrounded by art and music. My mom would stay up all night sewing dresses for me. My brother, Keith, and I would listen to vinyl records for hours on end. Stewart Family Pottery goes back to 1888, and my brother carries the torch at his pottery studio in Taylor, MS.

JHP ENTERTAINMENT: Speaking of your hometown. While researching in preparation of our conversation, I noticed the ‘notable people’ from your hometown, aside from you, are mostly athletes and coaches. So, I gotta ask…were you ever into sports?

LISA STEWART: I was into gymnastics for 8 years and was on the track team for about a minute.

JHP ENTERTAINMENT: Aside from music, you’ve also enjoyed success as a tv host. In fact, it was during those years that we first met. How much fun was hosting #1 Country and This Week in Country Music?

LISA STEWART: I absolutely love working in television and being on a set! That’s a team sport!

JHP ENTERTAINMENT: Now, see there! You got a sports reference in after all. Your hometown will be proud. Like everyone in Nashville, we’ve had a few connections through the years. Weren’t you in a Billy Gilman music video? You know I worked with his management around that time, right?

LISA STEWART: Yes! I was! And I do recall that you were a part of his team!

JHP ENTERTAINMENT: You’ve also ventured into acting throughout your career. Heck, I remember the TV movie Xxxs and Ooos, with a theme song sing by Trisha Yearwood, no less. Didn’t you have a quick appearance as yourself in that one?

LISA STEWART: I did! I think I was in an aerobics class! LOL!

JHP ENTERTAINMENT: Gotta love a TV movie who’s theme song was a bigger success. That leads me to another aspect of your career…songwriting. In fact, along with with Burton Collins & Clay Mills, you co-wrote Sky Full of Angels which appeared on Reba’s 2003 Room to Breathe. Like singing, songwriting is something you’ve always enjoyed, isn’t it?

LISA STEWART: Yes, I’ve been writing songs since I was about 9 years old. I write almost daily.

JHP ENTERTAINMENT: Let’s jump back to your acting for a minute. A couple years ago, you appeared in an episode of Vampire Diaries and a few other projects, including the film The Novitiate. How does being on set as an actor compare to being on set as a host?

LISA STEWART: Being a host vs. playing a role as an actor are two completely different gigs. The energy, the perspective, the headspace…is like comparing apples and architecture.

JHP ENTERTAINMENT: Any acting gigs in the future? Have you ever done live theatre? You know, Nashville does have a fantastic theatre scene.

LISA STEWART: I recently auditioned for a popular TV series. We shall see! And yes, I have done some live theatre. I’ve enjoyed some wonderful plays and musicals at TPAC!

JHPENTERTAINMENT: On the subject of theatre, last time I saw your son, Evan, y’all joined me for a local production of Shrek: The Musical. According to Facebook Memories, that was 8 years ago! I’m terrible at math, but I think that means Evan’s gotta be a teenager by now. Has he shown any interest in music or performing?

LISA STEWART: Evan is 13 now! While he is musical with a great ear, a lovely voice, plays a little guitar and is a fine actor (he’s been featured in commercials and music videos), he is smart enough to express, “Mom, I don’t wanna be in show business. The road is too rough.” Fortunately, he is into academia, but just wants to lead a simple life.

JHP ENTERTAINMENT: Back to your current musical expression, who’ve you got performing alongside you for your upcoming jazz night at Analog?

LISA STEWART: I’m fortunate to get to share the stage with some of the best jazz musicians around! This Thursday will feature Andrew Carney on trumpet, Rick Reed on drums, Alex Murphy on keys and Carter Murphey on upright bass.

JHP ENTERTAINMENT: Having played The Analog before, what’s your favorite aspect of the venue itself?

LISA STEWART: The room was designed by Michael Cronin….so it sounds absolutely divine!

JHP ENTERTAINMENT: Are you keeping the set strictly jazz, or do you plan on dropping in a classic country tune or two, or perhaps one of the songs from your country project?

LISA STEWART: For this show, it seems that anything aside from jazz feels a bit left footed. I like to stay in the jazz vibe.

JHP ENTERTAINMENT: Having done a handful of these jazz sets at Analog, is the set list always the same, or does it change when the mood strikes?

LISA STEWART: I like to have a set list as a guide, which may vary from show to show. But, I think it’s important to feel the room, as well.

JHP ENTERTAINMENT: Any plans to maybe record a jazz album?

LISA STEWART: Don Was, if you’re reading this. Let’s talk.

JHP ENTERTAINMENT: Anyone who is friends with either of us knows I’ll be in the audience at Analog Thursday as it’s the day before my Aug. 5 birthday. It’s also your birthday weekend, as yours is Aug. 6. What are you doing to celebrate your big day?

LISA STEWART: I love birthdays, and I hope to be spending my day with my son and my special someone. I hope to FaceTime my parents, brother, niece and nephew, too. But, I’m looking forward to doing what I love so much to kick off the weekend Thursday night…and that’s getting lost in the music.

Lisa Stewart will perform her jazz set at Analog at The Hutton Thursday, August 4. Advance tickets are available through August 3 for $15. Day of show tickets will be $20. CLICK HERE to purchase tickets. Any remaining tickets can also be purchased at the door just before showtime for $20. Follow Lisa on Facebook and Instagram. For more performances at Analog at The Hutton, check them out on Facebook, Instagram and 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 Rabbit Room Theatre and Matt Logan Productions’ ‘The Hiding Place’ on stage June 30-July 23 at CPA’s Soli Deo Center

June 30, 2022 by Jonathan

Matt Logan, a founding partner of one of the area’s most prolific theatre companies, and one of my favorite theatre crushes in the Nashville theatre community, has not only formed a new production company, Matt Logan Productions, but is also teaming with Rabbit Room Theatre’s A.S. “Pete” Peterson, playwright extraordinare of 2016’s highly-praised The Battle of Franklin and 2018’s lavish adaptation of Frankenstein, to present another of the scribe’s noted works, The Hiding Place, opening Thursday, June 30 at Soli Deo Center on the campus of CPA.

Peterson’s stage play, making it’s Tennessee debut after having enjoyed a World Premiere in Texas just a couple years ago, expands upon Corrie ten Boom’s 1971 autobiographical account of her Dutch Christian family’s unlikely activism during the 1940s when Nazis invaded their homeland of Holland and the ten Boom family made the decision to hide Jews in their family home.

When I was a kid, I remember knowing there was a movie starring Julie Harris that was based on ten Boom’s book. Beyond that, I was mostly unfamiliar with the story, but knowing Logan is involved as this production’s producer, director and designer, then finding that among the cast are John Schuck, Nan Gurley and Carrie Tillis, three more of my theatre crushes, I knew I had to chat with them all for my latest Rapid Fire 20Q interview.

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF THE HIDING PLACE

RAPID FIRE Q&A WITH THE HIDING PLACE PRODUCER, DESIGNER, DIRECTOR, MATT LOGAN

JHPENTERTAINMENT: Producer, director, designer…is there anything you can’t do? But seriously, what’s it been like to tackle so much with this inaugural production with The Rabbit Room Theatre?

MATT LOGAN: It has been amazing to work with a company like Rabbit Room. The steadfast support for quality theater is strong. They understand that if we are gonna do this, we are doing everything to the best of our ability. Nothing will be halfway or cheap. That is empowering to a creator. Doing all the jobs I do is tough but it’s not worth it unless it is quality. Rabbit Room is quality, folks.

JHPENTERTAINMENT: As a designer, I understand you not only designed the set, but also the theatre space itself. I hear the set design is quite unique. What can you tell me about it?

MATT LOGAN: Yes! I was a lead on the committee that was formed for the theater. Then, I stopped in as the interior designer for most of the spaces as well. Being an alum of CPA (Christ Presbyterian Academy), it is truly an honor to have been a part of the process, but now to step in and produce in the space is a whole new level that I did not see coming. As we started developing the show one of the major themes was time and clocks. With that as our central theme, it struck me that a turntable that would allow us to go inside multiple rooms of the home was necessary. It would not only add a bit of spectacle but it would functionally take us swiftly through the interiors of the home. In Act II, it takes us through different places in the camp. Altogether it has been a very difficult set to pull together but thankfully Mitch White as my associate created something truly spectacular and gorgeous. As usual, he brings all of my designs to life in a spectacular way.

JHPENTERTAINMENT: The Hiding Place marks your first theatrical stage production since 2018. While I know you’ve kept busy with other aspects of your creativity, how excited are you to be back behind the scenes of a theatrical production?

MATT LOGAN: Honestly, I feel like I’m back where I belong. A sabbatical in my life has been a great blessing for me to plan for the future. This show has allowed me to change some aspects of my career but also continue the things that I feel like are a calling — or at least a passion. I love the theater so much and the artists that I get to collaborate with both onstage and off in Nashville are truly some of the best in the business. Their hearts, their passions and their talents humble me daily. You’re only as good as your team and the team that I’ve assembled over the last 18 years gives me the inspiration to find new opportunities for collaboration. Being back together feels so right!

JHPENTERTAINMENT: That’s a perfect lead to my next question. The adage of the theatre community being a family seems prolifically evident when you consider a few behind the scenes aspects of this production of The Hiding Place…you, yourself attended Christ Presbyterian Academy, where this production is being presented. The Hiding Place playwright is the artistic director of Rabbit Room Theatre. Your former Studio Tenn co-founder, Jake Speck who recently returned from a few years in Texas where he worked with A.D. Players, was instrumental in securing the World Premiere of The Hiding Place at A.D. Players, and is now back in Nashville to helm CPA’s arts program…oh and one more, beloved Nashville-based actress Nan Gurley starred in that World Premiere production and is returning to the role of Corrie ten Boom in your presentation at The Rabbit Room Theatre. How fortunate do you feel that all these aspects have aligned for this staging of The Hiding Place?

MATT LOGAN: You are so right that it is wild to see all these circles intertwining in this production. I laughed with Jake saying that everybody’s gonna think that we planned this but truly it happened in an instant, and all of a sudden, it fell into place. I truly take that as a sign that it’s meant to be and a confirmation that the timing is right. It’s not anything that I was able to control but it is humbling to find yourself in the midst of it. And this cast is full of people that I have directed at all points in my life, including my directorial debut at 19 years old. It is incredible all the echoes and circles of life that are coming together in this one production.

JHPENTERTAINMENT: I’m about to chat with members of your cast, including the aforementioned Nan Gurley, as well as John Schuck and Carrie Tillis. What’s been your favorite aspect of working with these three mega-talents as you prepare to open the show?

MATT LOGAN: I’m their biggest fan. It’s entirely selfish to cast them and hold them together in one room. This work is stressful but my gratitude for the opportunity overshadows the stress. Also the rest of the cast too! Truly great artists! Thank you, Jonathan!!

RAPID FIRE Q&A WITH NAN GURLEY CORRIE TEN BOOM IN THE HIDING PLACE

JHPENTERTAINMENT: Nan, before we get into questions about the show itself, I just gotta say, whenever I’ve written about you in the past, I typically include the moniker, ‘Nashville’s Grande Dame of the Theatre’. How does it feel to be thought of in such regard?

NAN GURLEY: Well, first of all, let me thank you for using such a moniker for me! You are very kind. As to how it feels to be thought of that way, it’s very humbling. It also makes me want to live up to peoples’ expectations of me so there is a bit of pressure involved too. I want to bring everything I’ve got to every performance. I want to be honest and real and vulnerable in the roles I play and I want the audience to see authenticity in my performances. So I put a lot of pressure on myself. It’s very gratifying when people enjoy what I bring to the stage. I’m also very grateful to have played so many roles in my own hometown and to have audiences that know me.

JHPENTERTAINMENT: What can you tell me about Corrie ten Boom, the character you play in The Hiding Place?

NAN GURLEY: Corrie was the first trained female watchmaker in Holland, so she was a pioneer of sorts. She and her sister and father lived in the rooms above the clock shop they owned and they were known all over Harlem, Holland, as people of great hospitality. They loved having people in their home. They also took in the children of missionaries who were serving in foreign countries and raised the kids while their parents were away. To me, this is extraordinary. But in many ways they were your ordinary, average, everyday people who did not seek fame and recognition. They did what they did without fanfare. If they had never been caught as part of the underground resistance, we would not know their story today because they would not have felt they needed recognition for doing the right thing. Corrie and her family are known because they got caught and went to Ravensbruck. Corrie is the only one who survived. When she left the camp and the war ended, she decided to go back to Germany and turn a concentration camp into a rehab center. She refused to be bitter. She learned to forgive the ones responsible for the deaths of her dad and sister and brother. She spent the rest of her life traveling to 60 countries around the world telling people of the power of God to enable you to forgive the unforgivable. This is what makes her so remarkable. Everywhere she went and shared her story, she told people that on her own she could never forgive, but that God’s power within her made it possible.

JHPENTERTAINMENT: Earlier, I spoke with Matt Logan, the show’s director, producer and designer. I mentioned that you’re actually returning to this role, having originated it in the 2019 World Premiere. Having debuted the role in A.D. Players’ presentation, and now revisiting her, have you discovered anything new about Corrie ten Boom that you’re bringing to this production?

NAN GURLEY: Corrie is a deep well. There are always more things to discover about a character as rich as Corrie ten Boom. And Pete Peterson has added some very lovely monologues for Corrie that were not in the first production. He has crafted it so that Corrie is in the process of looking back on all that happened to her and is processing these memories and experiences out loud in front of the audience as she is trying to understand and figure out what to make of all that happened. So that device is helping me bring a new layer of vulnerability to Corrie. The tough thing about playing a person who has become a sort of sainted icon is that you’re tempted to play her as a fully developed saint from the very start of the play. If I did that, the audience would never see what the journey really cost her in terms of suffering. What I’m trying to do is show that Corrie was fully human and struggled with the tragedy that happened in their lives. I want my portrayal of her to have a journey, an arc of development so that she is changed and different by the end of the play. Her story needs a beginning, a middle and an end in terms of character development.

JHPENTERTAINMENT: The show’s subject matter is heavy and daunting as it centers around a WWII Christian family in Holland who offer to hid Jews from the Nazis. What do you do to both prepare for the role and to decompress afterwards?

NAN GURLEY: I’ve been preparing for months for this production, and memorizing the lines is ONLY the beginning. I’ve read books and researched and watched Corrie on YouTube and immersed myself in the abundant subject matter about her. I guess I’ve been preparing all my life in all my roles to play such a character as Corrie. Learning the Dutch accent has also been very helpful. I love to do accents and it always helps me lose myself in the character when the character doesn’t sound at all like me! I try to make some decisions about how Corrie would have felt in the moment and what thought processes she would have had. She was human. She’s not different from me in that way. She would have been scared and angry and would have wondered at times where God was in all this horror. Her faith may have been shaken at times. Mine would surely have been. So I just remember that we’re not different from each other in many ways. As far as decompressing, I go home to my husband and talk and relax with him. He’s amazing.

JHPENTERTAINMENT: What’s one line, one through, one scene or one theme included in The Hiding Place that you hope audiences will take with them after seeing the show?

NAN GURLEY: One of my favorite scenes is where Corrie visits her friend Fred Koornstra (played by Matt Carlton) at the food office. He is in charge of giving out ration cards. There are so many Jews going in and out of the ten Booms’ home that they are running out of food and she needs more cards in order to feed them. Jews are not able to get ration cards so Corrie goes to Fred for help. The Germans heavily monitored ration cards and Fred knows he is risking his life if he helps her. But Corrie is able to talk him into stealing 100 ration cards for her. It’s really a funny scene and I look forward to it every day. Plus, it helps that Matt and I have done dozens of shows together over the years so we have an instant connection onstage all the time.

I hope the audiences will walk away inspired and encouraged after seeing The Hiding Place. All of us have experienced loss. It’s how we handle it that will see us through to victory on the other side. The ten Booms were people of great faith. They trusted the sovereignty of God even when they could not understand what was happening all around them. They experienced horrific loss. But one thing Betsie said to Corrie while they were imprisoned that I hope the audience will remember is this: “There is no pit so deep, that God’s love is not deeper still.”

RAPID FIRE Q&A WITH JOHN SCHUCK, CASPER TEN BOOM IN THE HIDING PLACE

JHPENTERTAINMENT: First off, I’m so excited to be able to chat with you, having had the pleasure of getting to know you and your wonderful wife-even if just a little-the last several years. I’m sure I’ve gushed before, but I’ve been a fan since first seeing you in the human/robot buddy-cop sitcom, Holmes and Yoyo when I was a kid. Of course I also was a fan of your film debut in Robert Altman’s M*A*S*H and your many TV roles, including one of my favorite episodes of The Golden Girls. I’ve also been fortunate to see you onstage on tour, on Broadway and regionally, where you’ve performed in shows as Daddy Warbucks in Annie, Buffalo Bill in Annie Get Your Gun, General Waverly in White Christmas (my favorite stage musical of all time) and as a hospital administrator in Studio Tenn’s The Elephant Man. On the topic of your stage career, while researching to chat with you, I noticed your bio cites theatre as your preferred medium. What is it about performing live for an audience that draws you back time and time again?

JOHN SCHUCK: Well, there are a number of reasons for it. It’s what inspired me to become an actor. The film and television was wonderful for 20 or 30 years or so, but the time has passed me by now and the theater is what’s left. [Laughs] Which is fine. It’s not a problem; it’s just a reality of a career and so, I do as much theater as I possibly can. And after two years of COVID, of course, we all have been a little bit thirsty for some theater so I was thrilled when Matt asked me to do this.

JHPENTERTAINMENT: What drew you to the role of Casper ten Boom?

JOHN SCHUCK: Casper ten Boom is an interesting man. He’s very religious, very much a philosopher. He makes his living as a clockmaker so he understands mechanics and indeed in his philosophy, he’s fascinated with the mechanics of the world. So there are a lot of challenges there. Plus, his first skill is that of loving his daughters as a single parent. So there’s lots of gritty stuff to dig yourself into in terms of the story. In other words, the part is a challenge and I like challenges.

JHPENTERTAINMENT: When preparing to portray a real-life person like ten Boom, is your approach different from a fictional character, or do you view each role as a character, regardless?

JOHN SCHUCK: Well, I’ve only played a couple of “real” characters in my career that I know of. One was in a musical: Capt. Von Trapp. Daddy Warbucks was not a real character. [laughs] But this was definitely a real person. And to be honest, I have done no research into him whatsoever. I’ve relied solely on our author’s script to give me all the clues that I need for him. And that’s been more than enough. I think we have someone that’s true to the story but may not necessarily be an exact replica of the real man.

JHPENTERTAINMENT: With the action of the play taking place in Holland, the native language being Dutch, have you and your fellow cast mates worked with a dialect coach during the rehearsal process?

JOHN SCHUCK: Yes. We have definitely worked with a wonderful dialect coach and she’s been terrific because she’s reduced it down — the Dutch part at least — to two or three, what she calls, “returning to your base.” And it’s simple. Everybody at home thinks I’m crazy because the only way to get it right is to talk like that all the time for the most part. So it doesn’t matter what you’re saying, you can say it in Dutch. But it’s been fun. A lot of fun.

JHPENTERTAINMENT: Speaking of your cast mates, I chatted with Nan Gurley earlier and am about to interview Carrie Tillis. They play your character’s daughters, Corrie and Betsie respectively. Since my interview is called Rapid Fire, what one word would you use to describe Nan…and what one word would you use to describe Carrie?

JOHN SCHUCK: Oy! Well, for Nan, it’s definitely Powerful. And for Carrie, in this part, it’s Ethereal.

RAPID FIRE Q&A WITH CARRIE TILLIS, BETSIE TEN BOOM IN THE HIDING PLACE

JHPENTERTAINMENT: Who is Betsie ten Boom to you?

CARRIE TILLIS: She has a perspective that is so fresh. She’s always looking for beauty and brightness, and not even in the bright and pretty places, but in the dark places. That is really wonderfully unique.

JHPENTERTAINMENT: Prior to chatting with you, I began this Rapid Fire 20Q by posing a few questions to your director, Matt Logan. One thing I love about Matt is his attention to detail amongst his set design. Has he continued this within the ten Boom home set?

CARRIE TILLIS: I have always admired Matt. He does so many things well and his talent is all about the big picture, the whole piece. And he’s remarkable at condensing a massive piece into sometimes a smaller set, and it’s magic what he can do, the world he can create, with a very limited set. But then he dresses the set with such great detail and that comes in the set pieces and costumes. You have the big picture and then it has the finite detail. He’s brilliant.

JHPENTERTAINMENT: Those that know you, know you come from a musical family. To that end, what can you tell me about the interstitial music that accompanies this show?

CARRIE TILLIS: I was so thrilled to find out that Don Chaffer was going to be writing the music for this. I had the luxury of working with Don on the Legacy series for Studio Tenn. And when I heard Don was on board, I thought, “Oh, we’ve got our A-Team together again.” But clearly this is a very different show, different time period, different feel, so I was very excited when I got to hear the music. It was like a movie score, and there were themes for the family. It’s just beautifully written. It’s poignant when it needs to be poignant and it’s scary when it needs to be scary. I knew he would write something wonderful and it just adds so much to this whole show.

JHPENTERTAINMENT: When speaking to your director and co-stars John and Nan, I keep thinking about the community of theatre. In addition to Nan and John, you’ve shared the stage with a number of the ensemble cast members in previous productions. I’m curious to know, in light of the past two years of isolation, coupled with the seriousness of this work, if there seems to have been more of an effort to connect behind the scenes and how that might effect your relationships on-stage?

CARRIE TILLIS: When we started doing readings for this show, we were still deep in the pandemic. So seeing each other’s faces again for the first time was just a gift and we just looked at each other in a way, like “We’re still here!” I would say that from those rehearsals up until the opening of the show, everyone has been so present and keenly connected because we’ve missed each other so much. We’re a very tight-knit community, but we missed our art as well. To work again with each other added this very palpable layer of gratitude.

JHPENTERTAINMENT: While researching to chat with you, I kept noting the overall theme of Forgiveness, especially as it relates to Betsie ten Boom’s ability to forgive, in spite of everything she endures. What is forgiveness such an important attribute and why do you think forgiveness continues to be such a challenge for so many people?

CARRIE TILLIS: To me, forgiveness allows a person to move forward. The challenge is obvious — no one likes to be hurt personally, no one likes to have parts of the world hurt. It’s hard to feel it personally and I think the challenge for us individually or as a group is that we rarely see the big picture right at the hurt. We only feel the hurt. Betsie always had that resolve from the very beginning. She had forgiveness right at the very beginning. It was just her center. I think forgiveness does allow us to move forward.

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The Hiding Place runs June 30-July 23. For more about the show, CLICK HERE. To purchase tickets, CLICK HERE. Check out The Rabbit Room online or follow them on Facebook and Instagram.

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 Studio Tenn’s ‘Camelot’; on stage at Jamison Hall at the Factory in Franklin May 5-15

May 5, 2022 by Jonathan

Steffanie Leigh as Guenevere Steffanie Leigh as Guenevere (center), flanked by Bryce Dunn as Lancelot (l) and Brian Gligor as King Arthur (r) in Studio Tenn’s ‘Camelot’ (Photography by Keoni Keur & Company)

Studio Tenn’s much anticipated season closer, Camelot opens Thursday, May 5 and runs through Sunday, May 15 at the theatre’s home stage, Jamison Hall at The Factory in Franklin. As the company prepared for Opening Night, I had the opportunity to chat with four members of the cast for the latest installment of my recurring interview feature, Rapid Fire 20 Q. In conversation this time, I’m putting the spotlight on Brian Gligor, who plays King Arthur, his Guenevere, Steffanie Leigh, her other on-stage love interest, Bryce Dunn, as Lancelot, and Abram Guice, who plays troublesome Mordred.

RAPID FIRE Q&A WITH BRIAN GLIGOR, KING ARTHUR IN STUDO TENN’s CAMELOT

JHPENTERTAINMENT: What’s your favorite character trait—whether good or not so good—about King Arthur?

BRIAN GLIGOR: What most strikes me about King Arthur is his compassion for individuals from all walks of life. The brilliance in the lore of King Arthur is that he wasn’t born into a royal family. He grew up a peasant, serving as a page to his cousin, and only became King because of the miracle that took place when he removed Excalibur from the stone. Because of this, he understands both the life of a peasant and that of royalty, and he embarks on creating a new order of chivalry where the powerful use their advantages to help those who are less fortunate. His tale is the birth of democracy. His Achilles Heel is that his broad ideals don’t function the same in his personal life.

JHPENTERTAINMENT: This isn’t exactly your first time at The Round Table, having appeared in the 2014 production of Monty Python’s Spamalot at UT Knoxville’s Clarence Brown Theatre where you played Galahad. So, a two-parter….First, Do you think the bawdiness of Spamalot has helped bring a little more fun to your portrayal as Arthur? And…Second,….stay with me here…Speaking of the Clarence Brown, among your many shows there, you also shared the stage with the inimitable Carol Mayo Jenkins as recently as 2019 during her triumphant turn as Aurelie, the titular role in Madwoman of Chaillot. Totally a selfish question as I’ve adored her since I was a kid and have gotten to know her in recent years. What’s it like to share the stage with her?

BRIAN GLIGOR: Ooooh Yes. I grew up watching Monty Python’s The Holy Grail on repeat, and the Clarence Brown Theatre’s production of Spamalot was outstanding. King Arthur’s tale is of course much more profound in Camelot than in Spamalot, but I approached the mythos and lore of King Arthur much more comically, and I like to think Lerner & Loewe would have approved.

Camelot is a Musical Comedy, but like many in its day this musical mixes larger themes into the narrative. There is a quote from the French theatre-maker Molière that I love: “the duty of comedy is to correct men by amusing them.” I hope the comedy in our show helps engage our audience with its broader themes.

As for Carol, I have had the immense fortune to share the stage with Carol Mayo Jenkins in four productions, and I credit her for teaching me how to handle heightened text. She is a master at this art-form, and I was her student in my graduate studies at the University of Tennessee. She was relentless, and I think I’d make her proud in Camelot. I am extremely grateful for my time with her as a student and as a co-star. Yes, watching her as Aurelie in Madwoman of Chaillot was incredible, but a highlight of my career was playing Charles with Jenkins as Madame Arcati in Blithe Spirit. That’s where we really got to make some magic happen together.

JHPENTERTAINMENT: On the subject of working with others, Studio Tenn’s production of Camelot is directed by Phil McKinley, whose directorial credits range from Ringling Brothers and Barnum & Bailey Circus to The Boy From Oz and Spider-Man: Turn Off The Dark. What’s something unexpected director Phil McKinley has encouraged from you in the role of King Arthur?

BRIAN GLIGOR: I continue to find movement as a profound skill for storytelling on stage. I have studied Suzuki, Corporeal Mime, Viewpoints, and many other movement practices to cleanly and clearly tell stories physicality. Phil and I absolutely connect on this front. We’ve been sharing clips of movement pieces that inspire us. I’ve built much of the Royal formality you’ll see in our show from his expertise with movement and my experience with corporeal mime.

JHPENTERTAINMENT: While prepping questions for these conversations I rewatched the 1967 Richard Harris/Vanessa Redgrave film adaptation. Early on in the film, when Arthur first sees Guenevere, while telling her about Merlin, he say, “He doesn’t age, he youthes”, further explaining that he can see the future and tell you what you’ll do in it. If you could have the ability to do the same, would you?

BRIAN GLIGOR: That isn’t in this story of Camelot. Merlin can’t see the future, but he does express to Arthur that whatever choice Arthur makes is the right choice. Arthur’s choice is the new reality. Arthur is King, so it is definitely the new reality!

I ultimately agree with the sentiment, which I see as a commitment to whatever ideal you put in place at a young age. Stay focused on that. Point your arrow in that direction. There are many references in Camelot about finding your path. Find your path.

JHPENTERTAINMENT: Arthur also reveals to Guenevere that Merlin would change him into animals to teach him various lessons. If you could be any animal what would it be and why?

BRIAN GLIGOR: Merlin often turns Arthur into a hawk. Oddly that seems very right for me. I’d like to say “turn me into a Labrador,” but I think really I’m a hawk. They seem peaceful up there, aloft, free, and yet very aware. And they’ll get you if they want to.

RAPID FIRE Q&A WITH STEFFANIE LEIGH, GUENEVERE IN STUDIO TENN’s CAMELOT

JHPENTERTAINMENT: First of all, I have to say how lovely to have met you out and about here in Nashville at our mutual friend Curtis Reed’s cabaret show. If you had to describe Lady Guenevere in five words, and I guess since I’m asking you to, you do…what would they be?

STEFFANIE LEIGH: It was lovely to meet you as well! Guen in five words… I would say vivacious, fiery, naive, an exhibitionist, and carefree.

JHPENTERTAINMENT: Having been on Broadway, both as the lead in Mary Poppins and in the company of War Paint starring Patti LuPone and Christine Ebersole, I gotta ask…What’s among your favorite memories of those shows and your time in them?

STEFFANIE LEIGH: Ah, so many amazing memories! Mary was my Broadway debut, and I will never forget flying over the audience at the end of the show, looking down, making eye contact with my parents, and immediately welling up. And of course, in War Paint, getting to watch two musical theatre legends leaving their hearts out on the stage every night (and then grabbing the occasional drink with them after) was an opportunity I never dreamed I would be lucky enough to have.

JHPENTERTAINMENT: Though she is betrothed to King Arthur, Guenevere falls for Sir Lancelot. To that end, as Guenevere, you’ve got not one, but two leading men. Brian Gligor as Arthur and Bryce Dunn as Lancelot. What’s your favorite aspect of sharing the stage with each of them?

STEFFANIE LEIGH: Yeah, I’m one lucky lady! It is so fun to get to tell this story with both of these actors. Brian brings such a unique blend of warmth, vulnerability, and strength to his portrayal of Arthur that is absolutely riveting to watch, and Bryce has this striking purity that effortlessly emanates from him.

JHPENTERTAINMENT: Camelot, thanks largely to this show, and of course Jacqueline Kennedy’s use of the term to describe her late husband’s presidency and their relationship, has come to mean an idyllic existence. To that end, what is your real-life Camelot?

STEFFANIE LEIGH: I suppose it would be an existence where everyone truly realized and valued their own individuality. An existence devoid of competing to be the “better than“ and needing to prove oneself, and instead honored the beautiful uniqueness that everyone has to offer. I know, it sound very pie in the sky, but I guess that is what ideals are for.

JHPENTERTAINMENT: As Guenevere, your costumes must be simply divine. Neno Russell and Lauren Roark are the show’s Costumer Designers. What can you tell me about Guenevere’s various looks?

STEFFANIE LEIGH: Neno and Lauren have done such an incredible job with the design of this show. Because our version of Camelot does not include the actors leaving the stage very often for “normal costume changes,” they have created looks that layer together and convert onstage in front of your very eyes. It’s pretty genius! And I get to live out my full feminine, medieval, royal, Game of Thrones dreams in these beautiful clothes every night!

RAPID FIRE Q&A WITH BRYCE DUNN, LANCELOT IN STUDIO TENN’S CAMELOT

JHPENTERTAINMENT: What can you tell me about Lancelot?

BRYCE DUNN: Lancelot is an archetype of chivalry itself. He is both pious and courageous, as well as the ultimate hero. At the show’s beginning, Lancelot views himself as a sort of warrior monk. He would consider himself a consecrated virgin and defender of Christendom. However, Lancelot must come to grips with his humanity when he is bewitched by the beautiful Guinevere and finds himself in the middle of an illicit affair.

JHPENTERTAINMENT: As Lancelot, you not only have an affair with Guenevere, but you also defend her honor. To that end, Eric Pasto-Crosby is the show’s Fight Choreographer. Can you speak a little about the process of staging as it relates to the fight scenes?

BRYCE DUNN: The fight scenes are the stuff I dreamed of as a boy, swords clanging, saving damsels in distress. It’s like I’m dreaming. And yet, the fight scenes are challenging, both in skill and physical demand. I’m sure these moments will not disappoint our audience.

JHPENTERTAINMENT: Studio Tenn has been promoting the show, as directed by Phil McKinley, as a reimagining and different from previous productions of the Lerner and Loewe classic. You yourself are relatively young, so I have to ask…How familiar were you with the source material prior to joining the cast?

BRYCE DUNN: I have loved the Arthurian Romances, beginning with reading Sir Gawain and the Green Knight in high school. I adore the score for this show! My favorite piece of Arthurian Literature is The Lady of Shalott by Alfred Lord Tennyson.

JHPENTERTAINMENT: Lancelot takes the lead on two of the show’s many beloved tunes, C’est Moi and If Ever I Would Leave You. What’s it like taking on such classic show tunes?

BRYCE DUNN: Certainly, there are some big shoes to fill with the legacy of Robert Goulet, but I am very excited about the challenge and hope the audience will be pleased with my work.

JHPENTERTAINMENT: Are there any themes within Camelot that you think you’ll take with you once the show wraps?

BRYCE DUNN: I look at Camelot (particularly this production) within the tradition of Tragedy. The most prevalent theme that I have found in Camelot is the duty of the state to hold society together amid the dangers of human frailty.

RAPID FIRE Q&A WITH ABRAM GUICE, MORDRED IN STUDIO TENN’s CAMELOT

JHPENTERTAINMENT: Who is Mordred as you see him?

ABRAM GUICE: At the end of the day, Mordred a child who has been abused. There are many different iterations of these characters, and this one I feel is the most fun.

JHPENTERTAINMENT: Researching to chat with you, I discovered you have been in a number of shows at Act Too Players, the youth theatre company overseen by the fabulous Sondra Morton. How has your time with Act Too prepared you for being amongst the cast of Studio Tenn’s Camelot?

ABRAM GUICE: Yes, it definitely has. I wouldn’t be doing any of this if it weren’t for them. They gave me the confidence to be the performer I am today, and are truly my family. They taught me almost everything I know about the stage.

JHPENTERTAINMENT: As Mordred, you take center stage during the show’s second act, especially during The Seven Deadly Virtues. What can you tell me about this musical moment and the show as a whole, as choreographed by Everett Tarlton?

ABRAM GUICE: It is so much fun! Everett is a king, and truly the best at what he does. The movement and dance in our version is nothing like you’ve seen before in any production of Camelot. It really keeps the audience as well as the actors as entertained and engaged as possible.

JHPENTERTAINMENT: Many people’s first introduction to King Arthur was by way of T. H. White’s The Once and Future King. For me, it was an old Disney animated movie, The Sword and the Stone. What was yours?

ABRAM GUICE: Initially it was the T.V show Merlin, but after that I fell down a rabbit whole of studying Arthurian Legend all throughout high school. Some was just for fun, and some was to write mini skits or short stories to try and create in my film class.

JHPENTERTAINMENT: Camelot first opened on Broadway in 1960. Some sixty two years later, what is it about this story and these characters that still enthralls actors and audiences alike?

ABRAM GUICE: To me, it’s the history. I mean, almost every kid at once in their life wanted to be a warrior or knight, and the idea of King Arthur’s Round Table always kept that alive for me. These Arthurian Legends have been around for a very long time, and it’s hope that they aren’t going anywhere.

Studio Tenn‘s Camelot opens at Jamison Hall in The Factory at Franklin on Thursday, May 5 at 7p.m. and continues through Sunday, May 15. For all dates, showtimes and to purchase tickets, CLICK HERE.

Following Camelot, Studio Tenn will once again join forces with TPAC to present a Second Season of their hugely popular Cabaret On Stage series, featuring four intimate evenings at TPAC’s Jackson Hall. First, on July 2 it’s award-winning actor and multi-platinum recording artist, Sam Harris (The Life, The Producers) with composer/pianist/theatrical producer, John McDaniel (Daytime TV’s The Rosie O’Donnell Show, Broadway’s 1999 Annie Get Your Gun revival and Patti LuPone Live!). On August 20, Emmy Award-winning actress and recording artist Liz Callaway (Boston TV’s Ready to Go and Broadway’s Merrily We Roll Along, Baby, CATS) and Broadway, television and film actor Jason Graae (A Grand Night For Singing, Falsettos, Wicked) take the stage together. Next up, on September 10, it’s the incomparable Emmy and Tony-winning actress and singer, Kristin Chenoweth (TV’s Pushing Daisies, Schmigadoon! and Broadway’s Wicked, You’re A Good Man Charlie Brown). Rounding out the series on October 15, four-time Tony nominated actress/singer Judy Kuhn (The Mystery of Edwin Drood, Les Misérables, She Loves Me, Fun Home), who also sang the title role in Disney’s animated modern classic, Pocahontas, will be joined by the aforementioned John McDaniel.

For ticket to these special performances, as well as Studio Tenn’s upcoming 2022/2023 season announcement, be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

As always, if you’re interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook. Till then, #GoSeeTheShow.