Last weekend, Playhouse 615 opened their current production, A Bad Year for Tomatoes, the classic farce by John Patrick that proves small towns, big secrets, and sudden chaos are a recipe for nonstop laughs. Now on stage through February 22, this fresh Nashville staging brings together returning-to-the-stage performers, fearless comedic timing, and a creative team eager to let the absurdity bloom. In this Rapid Fire 20Q, we chat with stars Michele Geller-Crain, Melissa Peduzzi, Katarie Herman, and director Preston Raymer , touching on everything from embracing farce to Uta Hagen!
—–
RAPID FIRE 20 Q WITH DIRECTOR & CAST OF A BAD YEAR FOR TOMATOES
RAPID FIRE WITH A BAD YEAR FOR TOMATOES’ MYRA, MICHELE GELLER-CRAIN
JHPENTERTAINMENT: Myra Marlowe is a star, a recluse, and a walking contradiction — what was the first thing that clicked for you about her
MICHELE GELLER-CRAIN: What first clicked for me was the contradiction at the heart of Myra. She lives under a spotlight she never fully chose, yet all she really wants is control over her own life. I’ve always been somewhat feisty and a people pleaser myself, and I know how easy it is to get lost in the persona you present to the world instead of staying connected to who you really are.
I also tend to attract people who want to take care of me, and Myra does too. There’s something powerful and enjoyable about feeling like the star, as long as you remember to share the stage.
JHPENTERTAINMENT: As Myra (and her assumed identity, Sadie) balance elegance and absolute absurdity in this role — how do you keep Myra grounded while the farce spirals?
MICHELE GELLER-CRAIN: Myra uses humor to stay grounded. Her life is a nonstop cycle of lights, camera, action—parties, paparazzi, scandal, and always answering to someone else. With so little control, her drive for privacy and self-determination is essential. Reclaiming that control and discovering who she really is is the fire that keeps her grounded.
JHPENTERTAINMENT: You’ve directed and taught for years — does leaving those responsibilities to your director feel freeing, challenging, or both?
MICHELE GELLER-CRAIN: It’s both freeing and challenging. I may have a million ideas that I may think are better, but I have to stay in my own lane and remind myself to keep my mouth shut. The fun is in letting go, trusting the director’s vision, and diving fully into the acting—even when every instinct is screaming, “Here’s what I’d do!”
JHPENTERTAINMENT: You play both the glamorous Myra and her very different fictional sister Sadie — how did working with Costuming Consultant Gwendolyn Clinton help you physically and psychologically separate those two women?
MICHELE GELLER-CRAIN: First of all, Gwendolyn is amazing! She gave me some classic notes—like, “Maybe wear pants under that dress,” which, yes, probably should’ve thought of that myself. As for Sadie? Oh, she’s a little mix of all four of my kids, and a sprinkle of the crazy from Brittany Murphy’s character in Don’t Say a Word. Basically, just a hot mess with a lot of heart—and I love playing her. Distinguishing between Myra and Sadie is basically separating the rose from the thorn.
JHPENTERTAINMENT: If Myra were write YOUR autobiography, what do you think she’d focus on that you might rather she leave out?
MICHELE GELLER-CRAIN: I’m pretty much an open book, so I’m not sure there’s anything she could write about that I wouldn’t want her to. I wear my heart on my sleeve, ask questions that are probably none of my business, and love my husband and children with every ounce of my being—let her tell the world on every page!
RAPID FIRE WITH A BAD YEAR FOR TOMATOES’ REBA, MELISSA PEDUZZI
JHPENTERTAINMENT: After a 25-year break, what was the moment in rehearsal when you thought, “Oh yeah — this is why I missed this”?
MELISSA PEDUZZI: From the very first read-through, it was like a part of me I didn’t even realize was missing clicked back into place. Being in the room with such a talented cast, hearing them breathe life into this script, and getting to tell the story set in this small town in Beaver Haven was such a gift. Not to get too sentimental, but every rehearsal since has built on that, and I look forward to showing up every night to see what magic is created!
JHPENTERTAINMENT: How do you balance sincerity with comedy within Reba?
MELISSA PEDUZZI: I think sincerity and comedy go hand in hand. The more reality and depth we can bring to these characters, the more the comedy hits. I just try to embody Reba each show and let the absurdity of life be the comedian.
JHPENTERTAINMENT: Tomatoes…fruit OR vegetable?
MELISSA PEDUZZI: Both! Tomatoes belong everywhere for every occasion. They’re too delicious to keep contained in one category.
JHPENTERTAINMENT: This show features some strong female characters, but was written by a man and Playhouse 615’s production is being directed and assistant directed by men. How’s that working out?
MELISSA PEDUZZI: I feel like the actresses in this show have been heard, celebrated, and given so much creative space to make these characters jump off the page and shine. It’s been an incredibly safe and collaborative environment, and I’m grateful to have been part of it!
JHPENTERTAINMENT: If Reba Harper were to give you one piece of life advice, what do you think it would be?
MELISSA PEDUZZI: Always bring your crochet – you never know when you might need to sit a while with someone who needs you, and idle hands are the devil’s handiwork, after all!
RAPID FIRE WITH A BAD YEAR FOR TOMATOES’ CORA, KATARIE “KAT” HERMAN
JHPENTERTAINMENT: This is your return to the stage after 15 years — what finally pulled you back into theatre?
KATARIE HERMAN: Actually my partner pushed me to do it. She told me that if I love acting so much I should just put myself out there. She inspires me so much.
JHPENTERTAINMENT: Cora Gump has opinions, suspicions, and zero filter — what part of her do you secretly enjoy the most?
KATARIE HERMAN: Cora is definitely ADHD and I love that she just says what comes up in her brain.
JHPENTERTAINMENT: How did it feel jumping into this farce where timing, listening, and reaction are everything?
KATARIE HERMAN: Oh my goodness it’s hectic because there is so much going on and I tend to focus on something new every time. That makes every single rehearsal and run through different so different reactions. It’s fun though.
JHPENTERTAINMENT: Cora spends a lot of time observing — how has Wanderson Rezende’s set design help inform where Cora places herself, what she notices, and how she inserts herself into the action?
KATARIE HERMAN: It’s fun moving around the set and kind of just interacting with everything. I’m always just everywhere so there’s always something new to play with.
JHPENTERTAINMENT: What’s it like sharing scenes with Michele?
KATARIE HERMAN: Working with Michelle has been joyous. I’ve learned so much from her. She leaves me in awe.
RAPID FIRE WITH A BAD YEAR FOR TOMATOES’ DIRECTOR, PRESTON ALEXANDER RAYMER
JHPENTERTAINMENT: IF my research and memory serve me, A Bad Year for Tomatoes hasn’t been seen in Nashville in over a decade since a much-loved production at the now-defunct Chaffin’s Barn Dinner Theatre— what makes now feel like the right moment to bring this farce back to local audiences?
PRESTON ALEXANDER RAYMER: I think it’s a show that everyone can relate to. As humans, we are constantly evolving and embracing whatever “chaos” comes our way, and it’s up to us to decide how we handle it. It makes me think of the Bear Grylls quote, “Improve, Adapt, Overcome”.
JHPENTERTAINMENT: You show bio boldly touts your directing style as blending Constantine Stanislavsky and Uta Hagen techniques — how exactly do those methods show up in a fast, physical comedy like this?
PRESTON ALEXANDER RAYMER: Because in a Comedy, you cannot “play the comedy”. As Uta says, you must play a comedy like a drama, and in order to do that you must find and play your “Objectives, Obstacles, and Actions” (Stanislavsky).
JHPENTERTAINMENT: This is your first show as director at Playhouse 615 — what surprised you most about stepping into that role in this space?
PRESTON ALEXANDER RAYMER: What surprised me the most was the new talent that came out to audition.
JHPENTERTAINMENT: You’ve worked with Playhouse 615 cofounder Joel Meriwether a few times over the last year. As an actor, he directed you in The Haunting of Hill House and you served as his assistant director in two shows. Now he’s your assistant director. How have previous collaborations shaped your approach to directing A Bad Year for Tomatoes and working with Joel with you at the helm of this production?
PRESTON ALEXANDER RAYMER: It helped me to know the “atmosphere” of Playhouse 615 and how they operate.
JHPENTERTAINMENT: If audiences walk away with one thing stuck in their heads after curtain call, what do you hope it is?
PRESTON ALEXANDER RAYMER: I hope they walk away reflecting on the “chaos” in their own life and recognize what things are truly important to them.
—–
A Bad Year for Tomatoes is now on stage at Playhouse 615 (1190 Lebanon Road, Mt. Juliet, TN) and continues through Sunday, February 22. Friday and Saturday evening performances begin at 7:30pm, with Sunday matinees at 2:30pm. Tickets are $17 for Military and Seniors, and $20 for Adults. All seating is General Admision/First Come First Served. CLICK HERE for tickets. For more on the show — and to keep up with what’s next at Playhouse 615, including their upcoming production of The Little Foxes on stage March 20–April 5 — check out their website or follow them on Instagram and Facebook.
As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, visit JHPENTERTAINMENT.com or find us on Facebook, Insta and Twitter. Till then #GoSeeTheShow!