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Theatre Review: With ‘Singin’ in the Rain’ on stage at Chaffin’s Barn thru November 30, forecast for the magic stage is all-singin’, all-dancin’ with a deluge of talent

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If you read my column with any regularity, you know in addition to my love of musical theatre, I also have a penchant for classic Hollywood musical movies, so you can imagine my excitement when I learned Chaffin’s Barn Dinner Theatre was presenting their take on the stage adaptation of Singin’ in the Rain. That’s right…two of my obsessions…1950s musical movies and and all-out tune-filled stage extravaganza rolled into one.

Having seen a simply lovely production of the show in nearby Cannon County at the beginning of this year, and even though Singin’ in the Rain is one of my all-time favorite musicals, second only to the stage adaptation of the seasonal favorite, White Christmas, I honestly wasn’t sure what to expect of Chaffin’s take, but from the first notes of the show’s familar Arthur Freed/Nocio Herb Brown-penned overture, as skillfully executed by Chaffin’s musical director and keyboardist, Rollie Mains, woodwinds by Raymond Ridley, Neal Johnson on bass and drummer Dan Kozlowski, any slight trepidations were quickly laid to rest.

The stage version, like the original 1952 feature film, with screenplay by Betty Comden and Adolph Green tells the story of late-1920s silent film superstars Don Lockwood and Lina Lamont, who have been built up in the press, and by their studio, as romantic leads on…and off…the screen. Truth be told, they ‘caaaaan’t stan’ each other. There’s also Lockwood’s best bud, and frequent piano accompanist who plays the silent films musical soundtracks for the studio recordings, Cosmo Brown. He’s less than enchanted by Lamont and her diva-like ways and seems to always be looking out for his buddy’s romantic future. Further complications ensue with the advent of talking pictures. Not so much a problem for smooth and swarthy Lockwood, but for Betty Boop-voiced Lamont, that’s another story altogether. Enter young, inexperienced chorine, Kathy Selden, having just arrived in Hollywood from the legitimate stage, Selden is biding her time in the chorus until her big break. After a dismal preview of Lockwood and Lamont’s first talkie, The Dueling Cavalier, during which the audience laughs at Lamont’s fingernails on a chalkboard voice, Selden’s big break comes when Lockwood and Brown cook up a scheme to have Selden record her voice and dub it over Lina’s screech.

Fans of the film know it featured an all-star cast of Gene Kelly, Donald O’Connor, Jean Hagen and Debbie Reynolds, so you can image those being some pretty big dancing shoes to fill. To her credit, director Jenny Norris has packed Chaffin’s Singin’ with quite the who’s who of actors, most of whom are familiar to Chaffin’s patrons.

Matt Moran as Don Lockwood in Chaffin’s “Singin’ in the Rain”
(all photos by Michael Scott Evans/Courtesy Chaffin’s Barn Dinner Theatre)

Starring as Don Lockwood, the Gene Kelly role, for those familiar, is Matt Moran, most recently seen on Chaffin’s stage as the less-than-charming Glenn Gulia in The Wedding Singer. While I absolutely love Gene Kelly, especially in Singin’ in the Rain, I have to tell you, from Moran’s first entrance as Don Lockwood, I couldn’t help but notice, his matinee-idol looks and his overall command of the stage. Sorry, Gene, but Matt just might be my new favorite Don Lockwood. With a show full of wonderful tunes and numerous Lockwood-centric moments, Moran constantly shines like the star he’s play. While Moran’s bio indicates he made his stage debut at age eight, I’ve only recently come to know his work, so I knew holding his own against Curtis Reed as Cosmo Brown, Don’s best friend and former performing partner…the Donald O’Connor role in the film…would be a challenge. Spoiler Alert: Moran keeps up the pace and is the perfect compliment to his talented second-banana.

Speaking of Reed, not only is he a great comedic sidekick, and a uber-talented hoofer, he’s also the show’s choreographer. When I first saw the stage adaptation not long after its Broadway debut in the mid-80s, iconic choreographer Twyla Tharp had lovingly crafted dance sequences that paid homage to the original film moves by Kelly himself. Reed, as talented a choreographer as he is a dancer has done what might otherwise seem impossible, finding his own moves nestled smartly between the two, and I applaud that. 

Jenna Pryor as Lina Lamont With Kelsey Brodeur as Kathy Selden) in Chaffin’s “Singin’ in the Rain”

Cast as Lina Lamont is Jenna Pryor, one of my theatre crushes, having starred in a variety of local theatre productions ranging from Disney princess, Belle in Beauty and The Beast, to Leslie in American Idiot. Heck, on Chaffin’s stage alone, she’s been seen in a couple of Southern Fried productions, as well as Freaky Friday and Mamma Mia. Sporting a platinum blonde Harlow-eque wig and some form-fitting dangerous curves ahead costumes, courtesy the show’s costumer, Tammie Whited, Pryor perfectly transforms herself into the quintessential not-so-dumb-blonde and I’m here for it. I’m just gonna be honest, I couldn’t stop grinning from ear to ear from her first line on.

Rounding out the major players is Kelsey Brodeur as Kathy Selden. The native Atlantan, former New Yorker and recent Music City resident might be a relative newcomer to Chaffin’s, having appropriately made her Barn Dinner Theatre debut as Star to Be in their recent spectacular production of Annie, but Brodeur has appeared in a number of regional productions in and around the Syracuse area where she studied musical theatre and I’m here to tell you, she’s definitely one to watch. As Kathy, Brodeur finds the sweetness of Reynold’s girl-next-door, coupled with just enough sass and smarts to find what she wants and go for it.

From the show’s opening sequence, Fit as a Fiddle, which establishes the longterm friendship of Lockwood and Brown by way of ‘home movies’ projected on screens the roll down from the two corners of the stage to the mid-show literal show-stopping title tune and on to its all-in reprise at the final, Singin’ in the Rain is jam-packed with marvelous musical moments. 

Among my personal favorites in Chaffin’s production, first there’s You Stepped Out of a Dream, performed by Moran’s Don Lockwood, complete with beautiful harmonies courtesy an ‘only in a musical’ seemingly impromptu street chorus of passers by. Let’s be honest. Who wouldn’t swoon to a croon from this guy?

Kelsey Brodeur, Matt Moran (and Jenna Pryor) in Chaffin’s “Singin’ in the Rain”

Then there’s my absolute favorite number in the entire show…no, not THAT one…I’m talking about Kathy’s infectious musical entrance, All I Do is Dream of You. It’s sweet, it’s cute, it’s ironic, since she and Don aren’t exactly chummy at this point and with Brodeur’s lovely voice, a kick line of gorgeous ensemble members and Reed’s dynamic choreography, it’s perfect. 

Next on the highlight reel is Reed’s guffaw-inducing comic song and dance, Make ‘Em Laugh. Due to the confines of the space, Reed accepts the challenges and reigns victorious in a number filled with slapstick pratfalls, a great tune and some fancy footwork.

With a first act that’s nearly 90-minutes in length (as my sweet mother can attest, it flies by thanks to the fabulousness of the music, the saccharine storyline and the dedication and talent of the cast) there’s one great sequence after another. Beautiful Girls, features Daniel Bissell surrounded by…well…beautiful girls, including ensemble members, and three of my theatre crushes, Christina Candilora, Jenny Norris and Christen Heilman, in an homage to Busby Berkeley and Florenz Ziegfeld.

You Are My Lucky Star, another fan favorite, which ironically wasn’t written for the film, but rather first appeared in Broadway Melody of 1936, is among Brodeur’s most glorious vocal moments. I love that the stage musical restores the intro to the song and Brodeur’s sweet intonations fit it perfectly.

Speaking of perfect, You Were Meant For Me, in which Moran’s Don takes Brodeur’s Kathy behind-the-scenes of the movie studio, is just that…prefect. During this number, our romantic leads trip the light fantastic to more of choreographer Reed’s fancy footwork. With the aide of a large fan, fog machine, some mood-enhancing lighting, a ladder and some movie magic imagination, the relatively empty lot transforms into a balcony scene of love to rival that or Romeo and Juliet…at their happiest. Of course this scene, nor any other could come off as perfectly were it not for the real behind-the-scenes work of properties manager, Joy Tilley Perryman, technical director, Robin Lawshe, lighting designer, Daniel DeVault, audio engineer, Kaitlin Barnett and video courtesy Russ Sturgeon Productions/RSVP. On that subject, in addition to the aforementioned ‘home movies’ seen at the top of the show, RSVP’s handiwork is also seen throughout the production as the audience is treated to several Lockwood and Lamont moving pictures of both the silent and talking varieties, to much delight.

Back to the musical highlights…Reed and Moran team up for Moses Supposes, with Bissell as their straight man during a tongue-twisting, toe-tapping, tap-tastic musical delight, then Reed and Moran are joined by Brodeur for yet another of my favorite musical moments from the piece as they do a little spectacular couchography whilst singing Good Morning. Yes, it’s still my go-to wake-up alarm song.

Matt Moran, Kelsey Brodeur and Curtis Reed in Chaffin’s “Singin’ in the Rain’

This brings us to THE legendary, iconic, stupendous moment of the show…That’s right…Act 1 concludes with the title tune, Singin in the Rain. When I posted on social media that I was attending the show last weekend, a friend, who had seen the original touring production with me back in the late-80s/early 90s, who also just so happens to be a theatre professor/actor and talented director in his own right, commented asking “Does it Rain?” to which I responded, “Does it EVER”. 

As if Chaffin’s magic stage weren’t awe-inspiring enough, during the pinnacle moment of this number, thanks to some creative handiwork from Chaffn’s beloved former owner, John Chaffin himself, it not only rains it pours! As Moran’s Lockwood sings the show’s most familiar tune, it rains along all four sides of the square stage. Shoot, director Norris, during her welcoming remarks gave a little warning to audience members seated along the four sides of the magic stage that they might get a little damp, giving a whole new meaning to immersive theatre. Moran amps up the vibe even more by playfully kicking and dancing in the rain, causing it to splash towards those seated nearby, but just like a kid stomping in puddles, no one minded getting a little damp, especially considering the shower of talents they were witnessing. As the song’s lyrics say, “Come on with the rain, I’ve a smile on my face!” True Confession: I was so moved by the spectacle of it all that my eyes might have rained a little too. When the lights came up, my Mom looked at me and asked if my allergies were bothering me. A little embarrassed at just how much I love a great live musical that moves me to tears, I simply nodded yes. 

Following intermission, the music continues, but it’s plot that takes center stage as Lina finally clues in to Don, Cosmo and Kathy’s plan to dub her voice. While the second half of the show has it’s share of pleasing musical moments, Kathy’s Would You, Don’s Would You response and Don, Cosmo and company’s Broadway Melody (including the aforementioned mod dance sequence), it’s Pryor as Lina for What’s Wrong with Me that pretty much steals the second act. While Lina is predominately played strictly for laughs with her helium voice, couple with a decidedly east coast, street-wise vernacular, What’s Wrong With Me actually makes the audience feel just a little compassion for the show’s blonde baddie. Just when you’re feeling sorry for Lina, it’s back to laughing at her, thanks to the inclusion of a bit of what I’m naming skip-ography. Again….when Pryor’s Lina is on stage, I can’t stop laughing.

As is the case with any Hollywood musical worth its salt, by play’s end, everything’s tied up in a nice package just in time for the boy to get the girl as they reprise You Are My Lucky Star and the entire ensemble descends upon the stage for one final encore of the title tune.

Kudos to director Norris, choreographer Reed and everyone at Chaffin’s. Time after time, show after show I marvel at how the company seamlessly navigates what is a relatively small, albeit magic stage—yes, it still descends from the ceiling and I’ll never get over the awe of that feat alone.

The fantastic leads, with noteworthy assists from the entire cast—including Greg Frey as movie mogul RF Simpson, Nick Spencer as Rosco Dexter, Daniel Bissell as Production Tenor, Gabe Atchley as Rod, the always brilliant Katie Bruno doing double-duty as both Dora Baileyand Miss Dinsmore, Gabe Atchley as Rod and ensemble members: Seth Brown, Christina Candilora, Christen Heilman, Josh Innocalla, Benny Jones, Bethanie Lyon, Brooke Mihalek and Emmy Peurta—coupled with Reed’s double-duty as choreographer and co-star, all helmed by Norris, who not only director, but also appears on-stage as Zelda Zanders, it’s all a marvel.

Just before curtain on the night I attended, Norris, a veteran of the stage and a favorite at Chaffin’s, informed me that this show marked her directorial debut. With her winks to the gorgeousness of the original film and Reed’s choreo that includes everything from nods to the lush hyper-produced spectacles of the aforementioned Berkley and Ziegfeld, to the inevitable modern dance sequence that’s included in just about every mid-century musical, Chaffin’s Barn’s Singin’ in the Rain is just about as perfect a stage musical extravaganza as you’re likely to see outside of Broadway itself. 

Oh, and don’t forget…while I mostly refer to the venue as Chaffin’s Barn, their full name is Chaffin’s Barn Dinner Theatre! Ever since the change in ownership, the dinner aspect has vastly improved, offering patrons who choose the dinner and show tix the choice of either a huge variety of buffet items, or the option to order from their equally delicious ‘a la carte menu.

Chaffin’s Barn Dinner Theatre’s Singin’ in the Rain continues on the mainstage with shows through November 30. CLICK HERE or call 615.646.9977 for reservations. 

Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). Sunday matinees begin at 2 p.m. (with doors at noon for lunch service.

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

While Singin’ in the Rain continues through November 30, A Tuna Christmas begins at Chaffin’s Backstage with shows November 29-December 21, CLICK HERE for tickets or more info. Following Singin’ in the Rain, Chaffin’s will present Sanders Family Christmas on the Mainstage from December 5-21. CLICK HERE for tickets or more information. As they always do during the holidays, Chaffin’s will also present a show specifically aimed towards the younger audience as they present Jingle All The Way with Friday and Saturday shows from December 6-21. This special holiday treat is only $10 a person with kiddies two and under admitted FREE. Call the box office at the number above for details or to purchase tickets.

To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

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

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

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

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

RAPID FIRE WITH CHAFFIN’S ANNIE STAR, AVA RIVERA

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

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

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

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

RAPID FIRE WITH CHAFFIN’S ANNIE STAR, ELLE WESLEY

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH ANNIE’S DADDY WARLOCKS, GALEN FOTT

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

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

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

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

Ava — spunky

Elle — determined

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

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

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

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

RAPID FIRE WITH ANNIE’S MISS HANNIGAN, JENNY NORRIS

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

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

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

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

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

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

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

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

RAPID FIRE WITH ANNIE’S ROOSTER, CURTIS LEMON

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Theatre Review: ‘Kiss Me, Kate’ onstage at Chaffin’s Barn through March 9, plus Valentine’s special

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Martha Wilkinson and Matthew Carlton star in Chaffin’s Barn’s “Kiss Me, Kate” (photos by Michael Scott Evans/courtesy Chaffin’s Barn Dinner Theatre)

In an era when the absurdity of misogyny is finally being examined and hopefully eliminated, Kiss Me, Kate, Cole Porter’s mid-century musical comedy play within a play take on William Shakespeare’s The Taming of the Shrew could be seen as an interesting choice for Nashville’s favorite dinner theatre, but under the carefully creative eye of director/choreographer Everett Tarlton, and with a talented cast helmed by the Nashville theatrical presence that is Martha Wilkinson, any misgivings are quickly put to rest, for neither director, Tarlton’s nor star, Wilkinson’s talents can—or should—be tamed.

Katie Bruno as Hattie

The scene is set with the show’s literal and figurative opening number Another Op’nin’, Another Show in which members of a theatrical troupe ready themselves for exactly that, all to the playful and oddly rhyming lyrics. Only Cole Porter could convince an audience that Baltimore is pronounced (at least in song) as Baltimo, because that obviously rhymes with show. From the start, Tarlton showcases his energetic cast with Katie Bruno front and center as Hattie on this virtual all-in number. It should be noted that in spite of Chaffin’s relatively small center stage, surrounded on all four sides by tables and tables of patrons, Tarlton’s direction and choreography fill every available square inch of that stage with remarkably succinct and carefully choreographed movement. Never once does it seem like the actors are crowed or that they’re moving to avoid collision. It’s all done purposely and perfectly.

Mallory Mundy as Lois

The next number, Why Can’t You Behave serves to introduce the show’s secondary plot as ingenue Lois Lane, played by the simply stunning and ridiculously effervescent Mallory Mundy, chastises and teases her ne’er do-well gambling beau, Bill Calhoun, played by Chaffin’s newcomer, Caleb Pless. Mundy is one of those Nashville theatre actors I’ve oft referred to as one of my theatre crushes, and crush it she does. She plays Lois with the perfect combination of ditz and wits. Not being familiar with Pless’ stage work prior to this role, He definitely holds his own in scenes with Mundy and when given the opportunity to showcase his talents (read on, it’s coming) he does do with skills and ease that are sure to make him a familiar face at Chaffin’s going forward.

Caleb Pless as Bill

It’s not until the show’s third number, Wunderbar that we meet the aforementioned Wilkinson as Lilli Vanessi as she makes a divalicious entrance to join her sparing partner, Matthew Carlton as her ex-husband, Fred Graham. The chemistry between Wilkinson and Carlton is no accident. When I spoke with the two as part of an upcoming Rapid Fire 20 Q, they both revealed that this isn’t the first time they’ve played these roles, having starred in a production of Kiss Me, Kate on the same Chaffin’s stage twenty-six years ago. Over the years, the two have shared many stages together, and developed a friendship. All that history, even unspoken, is evident in the playfulness in which they address these two roles.

Martha Wilkinson and Matthew Carlton

Interspersed between the now-familiar Porter soundtrack, dialogue reveals the show’s full plot. Based on the real-life on-and-off-stage tumultuous relationship between director/actor Alfred Lunt and his actress wife, Lynn Fontanne, Kiss Me, Kate tells the story of Lilli Vanessi, a famous movie star who has returned to the stage to star in a musical production of Shakespeare’s The Taming of the Shrew, which her ex, Fred (Carlton) is not only producing and directing, but also co-starring alongside her as Petrucio to her Katherine. Further complicating things, a couple of heavies arrive to collect on Bill’s gambling debt, but think Fred is the one they’re looking for. As if that weren’t enough, Lilli reveals she’s intent on marrying Harrison Howell, a wealthy war hero. Oh, and did I mention Lilli accidentally receives opening night flowers from Fred? Flowers intended for Lois.

Wilkinson as Lilli Vanessi

Back to the musical numbers…When Wilkinson belts out So In Love, one of my favorite Cole Porter tunes, she does so with a near-operatic style that’s a subtle reminder of the originals of the Broadway musicals, for Broadway was originally indeed a more accessible, popular music-infused modernization of opera. On the subject of subtle elements within Chaffin’s Kate. Whether by happy accident, or clever purpose-filled design, Wilkinson seems to be paying homage to two Hollywood icons connected to Kate and The Shrew, as she sports two distinctive looks with her character, Lilli and the character of Katherine in the show wishing the show. When Wilkinson—who in real life wears her hair in a blonde pixie hairstyle—appears as mega-movie star Lilli Vanessi, she sports a raven-hued pageboy wig with wavy side-swept bangs reminiscent of Elizabeth Taylor, who starred in 1967’s film adaptation of The Taming of the Shrew. Meanwhile, when on stage as Katherine the titular character of the play within a play, she’s seen in a long curly red wig, a la 1953’s Kiss Me, Kate’s Kathryn Grayson.

Wilkinson as Lilli as Katherine

While We Open In Venice doesn’t exactly have the same oomph as some of the show’s more familiar tunes, it does serve to illustrate the tedium of going on the road with a touring company. The audience is next treated once again to the fireball that is Mundy, this time as her Shrew character, Bianca, Katherine’s younger, less shrewish sister, as she weighs her marital options with Lucentio (Pless), Gremio (Christian Redden) and Hortensio (Curtis Reed) with the fun and decidedly mid-century Tom, Dick or Harry.

Carlton’s rich vocals shine in I’ve Come to Wive it Wealthily in Padua, a perfectly Shakespearean sing-songy number with the male ensemble. Every time I hear this song, I can’t help but think Monty Python must have been inspired by it as it is so in the Spamalot wheelhouse. With Carlton at the helm, it’s an example of talent over content as his performance gives the silly song an unexpected air of sophistication with a knowing wink.

Mallory Mundy and Timothy Fudge as Bianca and Baptista

On the subject of the show’s Shakespearean tones, Timothy Orr Fudge plays Henry who, in turn plays Baptista, Katherine and Bianca’s father. Aside from Carlton’s Petrucio, Fudge’s Baptista performs the bulk of the Shakespearean dialogue and though his stage-time is somewhat limited, he manages to steal the spotlight from Carlton, Wilkinson and the rest with his enjoyably animated reactions and expressions. A thirty year veteran of the Nashville stage, Fudge is the joy of acting personified.

Back to Wilkinson for I Hate Men, another highpoint of the show, the soundtrack and Wilkinson’s performance, for you know the words she’s singing just aren’t true. To quote Shakespeare, “The lady doth protest too much, methinks.” For as much as she alleges her distain for the supposed stronger sex in this Porter classic, she does so with a wink and bravado that tells another tale. It was at this point in the show that I realized I could just sit and listen to Wilkinson belt out show tune after show tune and be perfectly content.

Matthew Carlton as Petrucio

Soon enough, Carlton’s Petrucio attempts to court Katherine during Were Thine That Special Face…until he discovers Lilli’s has read the note attached to the flowers she intercepted that were intended for Lois. What ensues is likely the most famous scene in the entire show, especially the 1953 film adaptation, as Fred/Petrucio attempts to stay in character and in the moment of wooing/taming Lilli/Katherine while she breaks her on-stage character, becoming more defiant that ever. Since its debut performance and through the years, this scene traditionally ends with Petrucio taking Katherine over his knee and smacking her backside as if to punish her for her defiance. It helps to keep in mind the time in which Porter’s work is set and first appeared on stage, Kiss Me, Kate having debuted on Broadway in 1948. The film adaptation premiering in 1953, by which time, millions of TV viewers were tuning in week after week to see Ricky Ricardo attempt to tame his scheming wife, Lucy, often resorting to turning her over his knee and giving her a spanking. To Tarlton’s credit, the infamous Kiss Me, Kate spanking scene between strong-willed Katherine and Petrucio is played off-stage, adding doubt as to exactly who is on the receiving end of the taming.

The first act draws to a close with the title tune, another all-in as Katherine resists both the urge to continue fighting, as well as the urge to sit, thanks to the off-stage reprimand she just received. Never intended to be taken too seriously, an certainly not to promote or glorify domestic discourse, the couple eventually, albeit still unwillingly embrace at Act’s end.

Members of the ensemble heat up the stage with “Too Darn Hot”

Tarlton’s choreo skills, and the dance talents of his ensemble start off Act 2 with the appropriately titled Too Darn Hot, another of my favorite Porter tunes, it’s also another prime example of Tarlton knowing exactly how to utilize and maximize the space and those who inhabit it. Reed, Mundy, Christen Hellman and other members of the company definitely bring the heat to this seductively sassy number.

Back to the Shrew musical, Petrucio laments the coming loss of his bachelor life with Where is the Life That Late I Led? This scene seems to also indicate that Fred is mourning the loss of his life with Lilli as offstage, Lilli’s much talked about, but heretofore unseen finance, Harrison Howell (James Rudolph) shows up looking for Lilli and ready to take her to be his wife.

Mallory Munday as Lois

Mundy’s Lois goes from the heat of Too Darn Hot to the flirtatious cool-down of Always True to You in My Fashion as she attempts to explain away her burgeoning friendship with Fred to a rightly jealous Bill.

The Porter hits keep coming as Wilkinson and Rudolph duet on the torchy testament From This Moment On. Then Pless gets his moment leading the ensemble in Bianca, a lovelorn ballad extolling his love for her, in spite of his reservations…and yes, it includes the lyrics “I’d gladly give up coffee for Sanka, even Sanka, Bianca for you”. Again, in Cole Porter’s world, anything can rhyme if you try hard enough. The number features more fabulous Tarlton choreography, fabulously performed by Pless and company.

Of course lyrics aren’t the only element of these tunes that make them decidedly Cole Porter….just as proficient in composition as he was in word-play, the melodies of Porter’s songs are a force unto themselves. In the masterfully capable hands of music director Rollie Mains, who is also on-hand playing keys, alongside Randy Craft, with Dan Kozlowski on drums, Michael Meadows on bass and Raymond Ridley on woodwinds, the music accompaniment in Kiss Me, Kate is heavenly.

As Gangsters, Sawyer Wallace and Austin Olive attempt to rough up Matthew Carlton’s Fred

Speaking of company members, Austin Olive and Sawyer Wallace, who play the aforementioned heavies who’ve come to collect Bill’s gambling debt, prove their comedic acumen through the play. Whether doing their toothpick-chewing, pistol waving stereotypical best as mobsters, or when forced to become part of the Shrew cast in order to keep an eye on their target, they’re hilarious. Never more so that near the end of the show as they perform the seemingly never-ending Brush Up Your Shakespeare. Of course all’s well that ends well…well, in a Cole Porter adaptation of Shakespeare, at any rate, and by show’s end Fred does indeed get that kiss.

Chaffin’s Barn Dinner Theatre’s presentation of Kiss Me, Kate continues with performances through March 9. Thursday matinees are at 12 noon (seating and box lunch service begins at 11a.m. Thursday-Saturday evening performances are at 7:30 p.m. (doors open at 5:30 with optional dinner service until 7 p.m.) During the run of the show, there are also special performances at 2 p.m. on Sunday, February 24 (doors at 12 noon, meal until 1:30), Tuesday night, February 26 (following the regular nightly schedule) and at noon on Wednesday, February 27 (same times as Thursday matinees). Tickets for Thursday matinee performances are $19 for show only, or $27.50 for show and a box lunch option. Evening performances are $13 for Children 12 and under, $20 for Students and $35 for Adults. For an additional, but minimal fee, during evening performances, Chaffin’s now offers a select a la carte menu of small plate items as well as entrée, sides, dessert and drink options. CLICK HERE to purchase tickets, or for more information.

On Thursday, February 14, Chaffin’s is offering a Valentine’s Special that will include the show, dinner for two, a bottle of champaign, a rose for the ladies and chances to win prizes all for $150 per couple ($185 if you’d like to be seated at a private table for two). CLICK HERE to purchase Valentine’s Day tickets.

On March 7, the noon matinee will be presented accompanied by signing for the deaf and hearing impaired. CLICK HERE to purchase tickets to this special performance.

As mentioned above, be sure and check back for my upcoming Rapid Fire 20 Q with members of the cast of Chaffin’s Kiss Me, Kate. In the meantime, keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Theatre Review: Don’t be a Cotton-Headed Ninny Muggins! Go see Sparklejollytwinklejingley Chase Miller’s performance as Buddy in ‘Elf: The Musical’ at Chaffin’s Barn Dinner Theatre thru December 22.

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Chase Miller lights up the holidays at Chaffin’s Barn Dinner Theatre as Buddy in “Elf: The Musical” (photos by Michael Scott Evans/courtesy Chaffin’s Barn Dinner Theatre)

Dear Santa, I have a confession to make. I’ve never seen Will Farrell’s 2003 holiday hit, Elf in its entirety. Confession Number 2: After seeing Chase Miller in Chaffin’s Barn Dinner Theatre’s current production of Elf: The Musical, based up on the film, with music by Matthew Sklar, lyrics by Chad Beguelin with book by Bob Martin and Thomas Meehan, I fully realize that just might make me a Cotton-Headed Ninny Muggins.

One final confession. I’ve never been a huge fan of Farrell. After seeing Chase Miller starring in Chaffin’s Elf, I am fully convinced there’s no way in the world Farrell’s performance could hold a candle to Chase Miller’s. As I mentioned when I interviewed Miller and his fellow cast mates for a recent installment in my recurring interview feature, Rapid Fire 20 Q, with his perfect comedic timing, unabashed joy and contagious optimism, Miller was obviously born to play this part.

From the moment Miller literally and figuratively leaps upon the stage, his portrayal of Buddy warms the heart with laughter, as he sets out on his journey from the North Pole to Manhattan in search of his father. As Santa himself—fabulously, slightly caustically played by Brian Russell—reveals in clever, albeit thinly-plotted exposition…when Buddy was an infant, he crawled in to Santa’s sack, but went unnoticed until Santa returned to the North Pole where Buddy was adopted as one of Santa’s elves. After 30 years of thinking he was just a very tall elf, Buddy overhears the truth…that he’s human. He then sets out on his journey to find his real father.

As mentioned previously, I’ve not seen the entire movie, but I’ve seen enough clips and random scenes over the years as the film enjoys annual holiday airings to know that Miller’s Buddy isn’t simply a mimic of Farrell. To me, Farrell’s films frequently suffer the same fate of most Saturday Night Live skits….they just don’t know when to stop. Fortunately, Miller doesn’t have that problem. Miller’s wide-eyed childlike approach to the character is entertaining from first bounding onstage to his last hug. An actor of lesser skill could easily get lost in the role, reducing it to foolishness, but Miller’s Buddy is infectiously enthusiastic in his dream of forging a relationship with his father, so much so that he not only elicits uproarious laughter along his journey, but a genuinely sweet moment or two.

You just gotta love this show from the get. Costumer Miriam Creighton has done a splendid job of designing and constructing jolly holiday attire. Adding a bit of humor to the elven magic, ensemble members portraying elves walk on their knees—which are fitted with elf shoes, of course. Add to that Everett Tarlton’s clever choreography, Martha Wilkinson’s direction and Rollie Mains’ as music director, and you’ve got the makings of a Christmas musical guaranteed to deliver the holiday goodies.

Speaking of Tarlton’s choreography, show opener, Christmastown’s uplifting positivity perfectly mirror’s Buddy’s persona. The elf-ography in that number indeed made my belly jiggle like a bowl full of jelly. Sparklejollytwinklejingley’s frenetic fun as Buddy tries to convince some jaded department store elves to take pride in their work, continues the Christmas mood perfectly. On that note, Katie Gant’s lighting design indeed shines the light on the festive fun as the set glistens like any given Main Street across the country during the holiday season.

Act 2’s Fosse-esque Nobody Cares About Santa featuring a few less-than enthusiastic Santas including Austin Olive, David Ridley, Christian Redden and Tarlton, becomes a jazz-hot surprisingly sultry Santa sequence. That leads into an equally seductive Never Fall in Love featuring Christina Candelora lamenting love in the saddest/sexiest Christmas number since Rosemary Clooney’s White Christmas torch song, Love You Didn’t Do Right By Me—and that’s quite a feat, considering she’s singing about falling in love with an elf.

Gotta also mention Tarlton’s set design. Spoiler Alert: When the Christmas tree lowered from Chaffin’s loft (YES, the fabulous mechanical stage that lowers from above is BACK), my Mom leaned over and whispered, “that the kind of tree everybody needs”. It always amazes me with relatively limited performance space, Chaffin’s somehow manages to utilize every inch of stage, packing fully, gorgeously choreographed numbers from large casts who frequently, seamlessly, move set pieces to and fro in equally choreographed moves, so much so that the audience is barely aware. Just another example of the well-oiled machine that is Chaffin’s.

As per usual for Chaffin’s productions, the cast is top-notch. Grey Frey, a favorite at Chaffin’s, plays Walter Hobbs, Buddy’s Dad, and he does so with a perfect balance of businessman agitation and overwhelmed family man. The aforementioned Candelora is Jovie, a less-than-jovial department store elf, who soon becomes the object of Buddy’s affection. A fan pf Candelora’s for a few years, any chance to see her on stage is a joy indeed. Jessica Holtan, making her Chaffin’s debut, plays Emily, Buddy’s human step-mom. She’s perfect as the put-upon wife, who still sees a bit of practical magic in believing in the spirit of the holiday. Seth Barrett, who recently appeared as Les in Chaffin’s Newsies, plays Michael, Buddy’s younger brother who, thanks to his workaholic dad, doesn’t exactly believe in Santa. His scenes with Miller as his older brother ring true to those of us who look up to our older siblings no matter how different we may be from them.

Another notable cast member is Vicki White as Deb, Mr. Hobb’s busy-body secretary, who initially finds Buddy In The Way, but soon warms to him like a cup of hot coco on a frosty morn.

The aforementioned Russell not only plays Santa, but also Mr. Greenway—Buddy’s father’s Scrooge-like boss. Russell’s Santa is played with a decidedly curmudgeonly wink to dry-witted Bob Newhart, who played Papa Elf in the film, also gets the chance to totally turn up the crankiness in the dual role of Mr. Greenway. When I spoke with Russell for my recent all-Elf Rapid Fire 20 Q, we chatted about the fact that Russell’s involvement in Elf marks a bit of a homecoming for the actor, who got his professional theatrical start at The Barn Dinner Theatre nearly forty years back. While Chaffin’s patrons may also recognize Russell for frequently working as one of the waitstaff during the dinner portion of the shows, and Nashville theatre patrons certainly recognize him from productions all across Nashville, it’s been nearly 20 years since Russell has been seen on stage in a Chaffin’s production.

Heck, the entire ensemble, including Christen Heilman, Cassie Donegan, Matthew Hayes Hunter, Melissa Silengo, Jenny Norris, Colin Bevis, Myka Pacheco and Gabe Pacheco, is fabulous. Whether playing elves, harried shoppers or over-worked office drones, each member of the cast approaches their various roles with enough minute attention to detail, movement and expression to garner their own attention from the audience from time to time.

Predictable? Sure. Adorable? Undeniably. Infectiously fun and certain to get you in the mood for the holidays? Absolutely. Elf: The Musical continues through Saturday, December 22. As the venue’s name would imply, in addition to the show itself, Chaffin’s Barn Dinner Theatre also offers a delicious buffet-style dinner along with the show. Throughout the run, Elf will be presented Thursdays at 12noon and 7:30p.m., Fridays & Saturdays at 7p.m. Additional showtimes include matinee performances on Wednesday, November 28, December 5 & 12 at 12noon, and Sunday, December 9 & 16 at 2p.m. Tickets for Evening performances and Sunday matinees include the full buffet dinner option with Dinner and Show tickets priced at $60 for Adults & $30 for Youth and Students or Show Only tickets available for $35 for adults & $16 for Children 12 and Under. Matinee tickets are available with the option of a Box Lunch for $27.50, or show only for $19.00. For Wednesday and Thursday matinee performances, Doors Open at 11a.m. for Box Lunch patrons, with the show beginning at 12noon. For Sunday matinees, Doors Open at 12noon with buffet service until 1:30p.m. and showtime at 2p.m. Friday and Saturday evenings, Doors Open at 5p.m. with dinner service from 5:30p.m.-7p.m and Curtain at 7:30p.m.

Fair Warning: Chaffin’s Christmas shows inevitably ALWAYS SELL OUT, so get your tickets today. Tickets may be purchased by calling the Box Office at 615.646.9977 (ext. 2) or 1.800.282.2276. You can also CLICK HERE to purchase tickets online.

The holiday fun keeps coming at Chaffins with The Game Show Show: Holiday Edition in their Backstage Theatre space, with weekend performances November 23-December 22. CLICK HERE for more information.

To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Theatre Review: Directed by Suzanne Spooner-Faulk, Keeton Theatre’s ’Spelling Bee’ charmingly entertaining…C-H-A-R-M-I-N-G-L-Y; on stage thru October 27

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The cast of The Keeton Theatre’s “The 25th Annual Putnam County Spelling Bee” (all photos by Jenny Petit Steiner/courtesy The Larry Keeton Theatre)

Technically, The 25th Annual Putnam Country Spelling Bee, currently onstage at The Larry Keeton Theatre through October 27, isn’t Suzanne Spooner-Faulk’s debut as a director, I say technically because she co-directed the company’s production of Big River last year. It is, however, her first time to fully helm a show and to no surprise to anyone who knows her, she does so to a joyful end, presenting a show brimming with charm, humor, heart and just enough silliness to make watching a show in which adults play school-age children competing in a Spelling Bee worth watching. Doesn’t hurt matters that The Keeton itself use to be a local school, so the auditorium vibe that still exists in the theatre space perfectly adds to the play’s gymnasium setting.

For her cast, Spooner-Faulk has assembled a fun mix of actors, some of whom are returning to Keeton having previously been seen on stage, and a couple making their Keeton debut…always a welcomed choice to mix it up a bit. While it can be nice to have a company that’s completely familiar, that can sometimes result in a few miscast roles. Luckily for Spelling Bee audiences, that is not the case here, as each and every actor involved manages to find their individual character’s quirks and run with them.

Cast as the quirky spellers are Chelsea Pearce, Jason Scott, Miranda Vaqué, Toby Turner, Sydney Rogers, and Jonathan Hunter. Playing the equally quirky adult roles are David Shaw, Drew Dunlop and Jena Salb.

Once the show begins, Salb’s Rona Lisa Peretti takes to the Putnam County gymnasium to moderate the Bee. My Favorite Moment of the Bee features Salb’s Rona Lisa as she reminisces her own championship win some years back. As Rona Lisa, Salb is as perky and excited to be par too the Bee legacy as she is sweet when, during various circumstances in the show, the kids need a little bit of adult support and understanding. Having never seen Salb on stage myself, I am happy to proclaim she’s now among my ever-growing list of theatre crushes.

Joining Salb’s Rona Lisa as the Bee’s sole judge/word pronouncer is Drew Dunlop as Vice Principal Douglas Panch. Dunlop is at his best when he’s interacting with additional Bee contestants pulled from the show’s actual audience. (More about that later)

The third and final adult role comes in the form of David Shaw as Mitch Mahoney, the Bee’s comfort counselor. That’s right, it’s Mahoney’s job to send the losers off with a hug and a juice box. Shaw’s Mitch is delightful. Like several of his castmates, Shaw also appears in an additional role, playing one of two gay dads to one of the kids. You gotta love the stereotypical flamboyance of his gay dad portrayal as well as the equally expected thug look of his portrayal of Mitch, both as wrong and un-PC, funny is funny and Shaw is funny.

Chelsea Pearce, as Logainne (center) flanked by her two dads, Jonathan Hunter and David Shaw (far left and far right) in a scene from Keeton’s Theatre’s “Spelling Bee”.

Then there’s the kids. Pearce, as Logainne Schwartzandgrubenierre, the youngest contestant in the Bee, who just so happens to have two gay dads, is hilarious. Her affected way of speaking—as if she were wearing braces—and her spot-on comedic timing are the perfect combination. Proving just how quick on her feet she is on and off-book, during last weekend’s Sunday matinee when a plane seemed to be about to land on the rooftop of The Keeton Theatre, without missing a beat—and totally in character as Logainne, Pearce cracked wise that her current spelling word “made as much sense as building a community center so close to an airport”.

Scott, as returning Bee champ, Charlito “Chip” Tolentino gets his own chance to steal the spotlight in one of the show’s more surprising musical numbers, My Unfortunate Erection. Yes, you read that right, Chip, like most teenage boys experiences a sudden urge right there in the middle of the Bee. As one of the elderly ladies seated near me said at the close of his number “Oh, my! It’s like that Justin Timberlake SNL song-skit”.

Sydney Rogers, a newcomer to Keeton, plays Spelling Bee newcomer, Olive Ostrovsky. Of all the characterizations of the spellers, Rogers’ Olive truly tugs at the heartstrings as she’s just as concerned with spelling as she is her father’s absence from the audience. Early in the show, she leads the company in My Friend, the Dictionary, a telling tune that touches home with the outcast in all of us.

To be completely honest, upon first glance, Toby Turner seemed a bit miscast as William Barfeé (it’s pronounced Bar-fay), but once he gets his magic foot in motion, he proves why he was cast, as he turns what could easily be the most annoying character in the show into one of the most endearing.

Vaqué’s Marcy Park is a little Wednesday Addams, a little Buffy Summers (sans the penchant for taking out vampires). The character’s quirkiness comes from a mix of being new to the area, speaking a multitude of languages and being an over-achiever. Vaqué’s lead on I Speak Six Languages is one of the show’s more thoughtful tunes and she delivers it with just the right punch of emotion.

Rounding out the Spelling Bee contestants is Jonathan Hunter as Leaf Coneybear. Described in the playbill as being homeschooled, Hunter’s Leaf is simply my favorite. Wearing a safety helmet, a shimmering gold lame cape and clothes his character bravely admits to designing himself, Hunter’s Leaf reminded me so much of this goofy kid I went to elementary school with, it’s scary. Of course I can’t name names, he’s probably some multimillionaire inventor by now anyway. But back to Hunter, he manages to steal every scene he’s in and his solo on I’m Not That Smart will make you wanna go hug him.

A typically chaotic, yet humorous moment in “Spelling Bee”.

While these nine actors make up the cast, as indicated earlier, several of the characters also play additional minor roles as various members of the Bee contestants’ families. Also mentioned above, during each performance, four members of the audience are called up to the stage and treated as late entries to the Spelling Bee. That’s part of the charm of the show. No two shows are ever the same, in part because you just never know how the audience pulls are going to interact with the actual cast. Luckily for me and the audience during the show I attended, a couple of the audience pulls were more than ready for their fifteen minutes of fame. Don’t worry though, unlike some productions I’ve seen, the audience pulls do so willingly as they’re asked just prior to curtain if they’d be wiling to participate.

The 25th Annual Putnam County Spelling Bee continues its run at The Larry Keeton Dinner Theatre (108 Donelson Pike) with evening performances Thursday, October 18 thru Saturday, October 27 with dinner service at 6 p.m. and show  beginning at 7 p.m. Dinner and Show tickets are $30 for Adults, $20 for Children 12 and under OR Show Only tickets for $25 for Adults or $15 for Children 12 and Under. Call 615.883.8375 for tickets and availability.

Next up at The Larry Keeton Dinner Theatre is A Christmas Carol: The Musical with shows from November 29-December 16. CLICK HERE for tickets or more information.

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.

Minnie Pearl musical debuts at Chaffin’s Barn Dinner Theatre; limited run continues through September 13

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Melissa Silengo as Cousin Minnie Pearl (photo by Michael Scott Evans/courtesy Chaffin’s Barn Dinner Theatre)

For their Thursday, September 6 matinee, Chaffin’s Barn Dinner Theatre unveiled the World Premiere musical, Minnie Pearl: All the News from Grinder’s Switch”, penned by Belmont University Professor of Music Business, Dr. Don Cusic. Directed by Chaffin’s own Joy Perryman, the musical examines how Sarah Cannon came to create her beloved character, Cousin Minnie Pearl, a staple on both  Nashville’s famed Grand Ole Opry and the long running CBS television series Hee Haw. From her first “HOWDEE” on WSM radio’s Opry broadcast in 1940, until her final appearance a half a century later, Cannon’s Minnie Pearl made her mark as one of our nation’s premiere female comedienne. Minnie Pearl: All the News from Grinder’s Switch continues it’s limited run through September 13.

Fresh off her return engagement as Mother Superior in Sister Act, Chaffin’s Artistic Director, Martha Wilkinson appears as Sarah Cannon as she reveals the genesis of Cousin Minnie. Melissa Silengo, who just closed her role as Katherine Plummer in Circle Players’ brilliant production of Disney’s Newsies, will play Cannon’s on-stage alter-ego, Minnie Pearl. Of her two leading ladies, Perryman said, “Both of these talented women are incredibly gifted in the same ways as Minnie Pearl. They both have the comedic chops to land a joke squarely on target and both sing like nobody’s business!” Of the duo’s musical talents (to which I too can attest), Perryman continued, “The duet that ends Act 1 might just prove to be the biggest showstopper this year”.

On playing Cousin Minnie, Silengo exclaimed, “I am so honored to have the chance to play such a well-loved Nashville legend”. Addressing the familiarity of the character, Silengo continued, “It seems everyone knows Minnie Pearl to some degree, even if it is only her price tag, and I am excited to get to know her from the inside out”. Noting more than a passing physical resemblance to Queen of Cornpone, she revealed, “A few times, people have said I reminded them of Minnie Pearl, and I always took it as a complement”. “Hopefully, I will remind people of her in the show”, noted the young Minnie co-star.

When asked about her involvement in the show itself, Silengo gushed, “I am so excited to do this show with a super-talented cast and Joy Tilley-Perryman directing at the Barn, where I know audiences will eat it up (along with the buffet). Joy knows comedy so well, especially the Southern variety,  and I trust that she can help me craft my performance with the timing and whit that Minnie Pearl deserves.” Borrowing one of her character’s trademark phrases, Silengo concluded, “I’m just so proud to be here!”

As Silengo mentioned, Cannon’s Minnie Pearl was known for wearing a straw hat brimmed with flowers and a still-present price tag. Country comedy aficionados can quickly tell you that price tag read $1.98. Legend has it, Cannon simply forgot to take the tag off before wearing the hat onstage, but thanks to her quick-wit, she cleverly worked it into her routine and decided the tag would stay. While Cousin Minnie Pearl was known for the aforementioned straw hat (tag included), she also quickly developed a signature style that usually included a gingham print dresses, complete with frilly pantaloons, white stockings and black Mary Janes.

In addition to Wilkinson and Silengo, Minnie Pearl: All the News from Grinder’s Switch will also feature Minnie’s frequent comedy partner, Rod Brasfield. Brasfield, as played by Chaffin’s favorite, Everett Tarlton. For those not in the Opry know, Brasfield began his career in the 1920s, but gained national recognition when Grand Ole Opry founder, George Hay hired him to appear on the Opry in 1944. Four years later, divine intervention occurred when Brasfield was teamed with Cannon’s Cousin Minnie created a hilarious duo. Unlike other comedy duos of the day, where one member of the team usually played the straight man, setting up the laughs for the other, Minnie and Brasfield volleyed the jokes back and forth, delivering alternate punch-lines. The two continued to frequently appear together over the next decade until Brasfield’s untimely death in 1958.

When asked about Tarlton’s portrayal of Brasfield, director Perryman predicted, “He will prove to be a more than able partner to Melissa’s Minnie”. Perryman continued by warning, “She just has to make sure he doesn’t steal the show!”

Rounding out the cast of Minnie Pearl: All the News from Grinder’s Switch are Maggie Richardson, Curtis Lemoine, Loren Ferster and Chase Miller. Of the remainder of the cast, Perryman divulged, “We have a fantastic ensemble that will be assisting in every way”.

As the show’s title might indicate, the character of Minnie Pearl is front and center in Chaffin’s production, but it does indeed touch on the woman behind the comedy classic. That stands to reason because, of course Sarah Cannon, herself, was quite a remarkable woman. Having well-established her Minnie Pearl character as a beloved part of country music, Cannon was diagnosed with breast cancer in 1985, undergoing radical treatment, including a double mastectomy. Following this personal trial, Cannon became spokeswoman for the Nashville-based women’s hospital where she received her treatment. It was as Sarah Cannon, not her fictitious alter Minnie Pearl that she took on this task. The facility was later rechristened The Sarah Cannon Cancer Center. The Sarah Cannon Research Facility is also housed in this location. As the result of a debilitating stroke in 1991, Cannon retired her Minnie Pearl character after fifty one years at The Grand Ole Opry. She passed away five years later, on March 4, 1996 but as Chaffin’s Barn Dinner Theatre’s current production proves, her legacy and laughter live on.

Having already SOLD OUT yesterday’s matinee, as well as the show’s Friday, September 7 evening performance and Thursday, September 13’s matinee, you only have two remaining chances to see this show with limited tickets still available for Saturday, September 8’s 7:30 p.m. evening performance (doors open for dinner service at 5:30 p.m) or the Sunday, September 9’s 2 p.m. matinee (door open for lunch service at noon). Evening and Sunday tickets are $62 ($37 Show Only and $18 for Children 12 and under ). As an alternative to their truly delicious buffet dinner, which features prime rib, other meats and an array of vegetable, salad and side options, Chaffin’s recently added yet another dining options with their Small Plate a la carte menu featuring separate pricing per item. Group Rates are also available. CLICK HERE or call the box office at 1-800-282-2276 for tickets or more details.

Following Minnie Pearl: All the News from Grinder’s Switch, Chaffin’s will present Disney’s Newsies onstage September 20-October 27. CLICK HERE for tickets, as this one’s sure to be another popular show for Chaffin’s. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Review: Renaissance Players’ ‘Church Basement Ladies’ serves up a heavenly smorgasbord of laughter and music

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The cast of Renaissance Players’ “Church Basement Ladies”

Let me start this review by saying, I almost didn’t post it at all. Not because the show isn’t hilarious…it is. Not because the accompanying dinner isn’t church-social-worthy…it is. I almost didn’t review the show because, quite frankly, after seeing it last weekend, the remaining performances through tonight SOLD OUT earlier this week. That said, I feel Renaissance Players Gaslight Dinner Theatre production of Church Basement Ladies is indeed due any and all praise.

I’ll also admit I had never heard of Church Basement Ladies, perhaps because I didn’t grow up in the midwest and wasn’t raised Lutheran. After doing a little research, I discovered Church Basement Ladies is the musical adaptation of of Janet Letnes Martin‘s and Suzann Nelson’s 1997 book, Growing Up Lutheran. Oh, wait…I do remember that title from my years of working at Tower Books. In case you’re still not familiar…Think Nunsense, but replace Catholicism with Lutheranism and swap out the sassy nuns for a group of ladies who, as the primary cooks in the church kitchen, are the backbone of the community. Being raised Church of Christ and knowing a few church ladies myself, I can totally relate.

For Renaissance Players’ Church Basement Ladies, Brett Myers, fresh off his starring role as Seymour in Little Shop of Horrors, steps behind the scenes to direct. For his cast, he’s enlisted the help of two of his former Little Shop co-stars, Tory Gunn and Leslie Kopischke, as well as first time Ren Players Abigail Nichol and Lindsay Terrizzi Hess. Rounding out the cast is Brian Best, having most recently appeared in Audience of One’s West Side Story.

Set in 1965, Church Basement Ladies takes place in the titular church basement, which houses the aforementioned kitchen, as well as the Pastor’s office and an unseen–but key to a few subplots–boiler room. Designed and constructed by Jon Kopischke, Marc Pearson and Scott Mollenhour, the set is perfectly charming. If you’ve ever stepped foot in a church basement, or fellowship hall, you’re feel right at home as it’s complete with a refrigerator (the light actually turns on when the door opens), a stove and a freezer big enough to hide a bride or cool a menopausal church lady, but I digress.

With Closer to Heaven (in the church basement) as the show’s opening number, it’s quickly evident this isn’t some thought-provoking theatrical piece. Other clever titles range from The Pale Food Polka, My Own Personal Island (the above referenced menopausal number) and Dead Spread, a little ditty about funeral food. These are just a few of my favorites. There’s also For Good (NO, not the Wicked one) but like Elphaba’s change of heart tune, this one also encompasses on of the show’s ah-ha moments.

Gunn as Vivian, Kopischke as Mavis and Terrizzi Hess as Karin portray the main three church ladies. Gunn is the epitome of the know-it-all, self-appointed ruler of the roost as Vivian. She plays her as a doddering old lady who’s equal parts sweet and bitter. While the entire cast does an affable job with the musical numbers, it’s Gunn’s voice that shines in many of the show’s group numbers.

Kopischke’s Mavis is strictly played for laughs, think Mama’s Family’s Mother Harper mixed with the often outrageousness of any given Betty White role. An achievement in itself, considering Kopischke’s youth.

Terrizzi Hess, whom I first became aware of when she starred in The Keeton Theatre’s South Pacific, is enjoyable as Karin, the youngest of the church ladies, who’s poised to take the helm when and if a changing of the guard ever occurs within the ranks of the church basement. Cast as the mother to Nichol’s character, Terrizzi Hess plays the role with a kindness, while not allowing herself to be taken advantage of. Taking the lead on several of the musical numbers, Terrizzi Hess proves she’s got the talent to do so.

As Karin’s daughter, Signe, Nichol’s frequent visits home provide many of the show’s set-ups, as they coordinate with holidays and special occasions in which the church ladies would be in the basement preparing meals. Nichol’s Signe represents the changes, not just among the church ladies, but in the world around them as she have ventured out beyond their small town and the sanctuary of…well, their sanctuary. But just when you think the show might tackle some more serious issues, there’s a will-they or won’t-they wedding instead. While the entire show is kitschy and cute, one near-finale scene gets a little too outrageous for my taste, reminding me of some of many of the farcical shows local dinner theatre’s tend to have a penchant for.

On the subject of outrageous, Best’s Pastor Gunderson is uncharacteristically played down from the usual scene-stealing I associate with Best. Yes, he gets to guffaw it up in a bunny suit (Hey, the remains shows are SOLD OUT, so it’s not really a SPOILER, right) but it’s when he deals with the show’s more tender moments, like the death of a dedicated church employee that Best is, well…best (I”ll never stop using that when reviewing show’s he’s in…I mean, it’s right there in the name). Best serves up the laughs and the more serious emotions with equal finesse.

Speaking of serving…the dinner portion of Renaissance Players’ at the Gaslight Dinner Theatre serves up a delicious meal, catered by The Front Porch, located in nearby downtown Dickson, is the stuff of which Sunday dinner’s on the ground are made. I truly love that the area dinner theatres have all stepped up their food-game in recent years, and I credit it to The Gaslight Dinner Theatre, who’ve consistently served delicious fare from the beginning.

If you missed out on Renaissance Players’ Church Basement Ladies, considering virtually the entire run was SOLD OUT, I’m convinced saying a little prayer might bring Vivian, Mavis, Karin, Signe and The Pastor back to The Gaslight Dinner Theatre. After all, like the above-referenced Nunsense, there are–to date–five sequels to the original, including Church Basement Ladies 2: A Second Helping. If Renaissance Players is smart, they’ll be securing the rights to that one for next season.

Up next for The Renaissance Players, upstairs at the Renaissance Center in the auditorium, is Disney’s Alice In Wonderland Jr. with shows September 21-September 30. CLICK HERE for tickets. To keep up with the latest from Renaissance Players, 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.