Interview

Rapid Fire 20Q With Cast of Playhouse 615’s ‘Dracula: a Comedy of Terrors’; onstage through November 3

October 25, 2024 by Jonathan

The cast of Playhouse 615’s ‘Dracula: a Comedy of Terrors’ (l to r: Jeremy James Carmichael, Robert Coles, Katie Fraley, Jonathon Joyner and Beth Henderson) on stage through November 3.

Following last weekends SOLD-OUT opening performances, Playhouse 615’s Dracula: a Comedy of Terrors is back this weekend and next, October 25-27 and November 1-3, to glamour audiences with a bloody hilarious reimagining of the Bram Stoker classic. After having seen the off-Broadway premiere just last year, Playhouse 615’s Ann Street Cavanagh quickly snagged the rights to present the Tennessee debut for this Halloween season. As the cast prepared for the remainder of the run, I had the chance to chat with each of them for the latest installment of my recurring interview feature, Rapid Fire 20Q.

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Rapid Fire 20Q with the entire cast of Playhouse 615’s Dracula: a Comedy of Terrors

Rapid Fire with Robert Coles, Mina and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: First of all, your Mina and Dr. Van Helsing are absolute scene stealers. I honestly didn’t think I would enjoy you in these roles so much. What’s been the most challenging aspect of playing these two lovely ladies?

ROBERT COLES: Thank you! These roles have been so much fun to play. They’re so different and I’ve loved creating them. For me, they’re polar opposites. Mina is written as a horny misfit and Dr. Van Helsing is composed and serious. So, making the switch between these two (sometimes within a few seconds) is challenging. And, with them having such drastically different accents, one scene in particular where they have a full on conversation with each other is absolutely crazy! But, Ann and I worked closely on building the characters and how we wanted them to sound, their physicalities, and different traits to put into them to make them so different. Partner that with costumes and wigs, and they come together quite nicely!

JHPENTERTAINMENT: As Mina, you reminded me a bit of Bette Davis in Whatever Happened to Baby Jane, and I was there for it! What went into developing your characterization of that role?

ROBERT COLES: Oh, Mina! I just love her. She has tender moments where you really start to feel for her, then she does things so cooky and crazy that you’re back to, “Aww. Bless your heart…” For her, I just wanted to amp up the crazy and horny. I put a lot into her physical traits and how she walks, talks, and moves. Her laugh and grunts are also a favorite aspect of the character. This cast has been a dream to work with and they put up with all my crazy! Truly no two nights with Mina are the same. I feed so much off the audience’s energy, too!

JHPENTERTAINMENT: Can we just talk about the oversized hair bow? I love that it just kept falling into your face and without missing a beat, you repositioned it and went on. Who’s idea what it to have you wear it?

ROBERT COLES: That bow is the bane of my existence, but I LOVE that the audience reacts to it so much! Ann always wanted that giant bow to be sitting on the side of my head, but you throw it on top of a wig and add in a gallon of sweat (seriously, we’re running marathons during this show!) and it just won’t stay on! My favorite moment during the show opening night was when I finally got so tired of it that I just threw it into the audience!

JHPENTERTAINMENT: Ann Street-Kavanagh is directing Dracula. Recently, you’ve worked with her as a co-star during Sordid Lives, as playwright and cast member for Aunt Sally’s Wild Ride and now as director and cast member in Dracula. How does the fact that you both are as adept on stage as behind the scenes affect your working relationship?

ROBERT COLES: Ann is an actor’s director. She comes into rehearsals knowing exactly what she wants, but allows us to play with the scene and characters and make them our own. I love her passion for this show, and for directing. She was so funny during this process and so many of our little bits were straight from her zany brain! Fun Fact: I have actually directed Ann TWICE as well! I think we have a mutual respect for each other and our crafts and it really created a harmonious relationship. When you add in this incredible cast (I mean, come ON, I’m acting with Jeremy James Carmichael, Beth Henderson, Katie Fraley, and newcomer Jonny Joyner for goodness sakes!), magic happens. We’ve become a family… Truly. This is one show I don’t want to end. Thank you, Ann, for this opportunity. It’s blessed my life in so many ways.

Rapid Fire with Beth Henderson, Renfield and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: As I mentioned after having seen opening night of Dracula, you, along with Robert Coles, steal every scene you’re in. Was absolutely going for it and pushing the boundaries of comedy something you were initially comfortable doing or did it take a bit of coaxing from your director Ann Street Cavanagh?

BETH HENDERSON: I was all in from the audition forward. When it comes to comedy, you’re more likely to have to reign me in than push me out there.

JHPENTERTAINMENT: Thanks to Nick Cage’s recent Renfield film, I suspect more audience members might be a bit more familiar with the character. But your interpretation is anything but a carbon copy of latest big screen version. The distinct way in which your Renfield speaks gave me and several folks around me in the audience a serious case of the giggles. What went into presenting Renfield the way you do?

BETH HENDERSON: The script describes Renfield as someone with salivary issues. I think that was the key to finding the character for me. Once I figured out how to do a very slobbery cockney-like accent, the rest just fell in place.

JHPENTERTAINMENT: In addition to Renfield, you play Dr. Westfeldt. There’s a particularly fast-paced scene in which you play both, onstage at the same time. What’s your secret to keeping straight whose line you’re delivering and when?

BETH HENDERSON: Ha! Keeping the lines straight is the easy part of that scene. It’s the wig and pipe exchange while spinning that I will never perfect.

JHPENTERTAINMENT: One thing I noticed during the opening night performance was that the audience was laughing so hard there were instances we missed what I’m sure where some equally guffaw-inducing lines. To that end, how imports is audience reaction to the energy of the cast when performing comedy?

BETH HENDERSON: The audience reaction is everything! We had rehearsed the show so much that we weren’t even sure it was funny anymore. The laughter creates this energetic buzz that kind of gives you a high as an actor.

Rapid Fire with Katie Fraley, Lucy and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: What do we need to know about Lucy, one of the characters you play in Dracula?

KATIE FRALEY: Lucy is a woman ahead of her time. She is not only strong and courageous, but she is unwilling to hide her true self. Lucy is also fiercely devoted to her loved ones, especially her sister Mina, so much of her fighting spirit shines through in her relationships. She maintains her independence as best she can, even though the people around her have not quite caught up to her progressive ideas. Her father, for example, still views her as a frail future housewife who needs protection. Many of Dr. Westfeldt’s comments speak to the general attitude toward women during this time. One of the things Lucy craves the most is an intellectual equal who celebrates her free spirit. I think this is where some of the conflict appears for her in the story. Because her fiancé, Jonathan, is so timid and unsure, Dracula appears as the first bold personality she has encountered for ages. It makes sense why she is drawn to him. Ultimately, these forces pull Lucy in many different directions, but whatever happens, you can be sure that she will follow her heart and intuition authentically.

JHPENTERTAINMENT: Jeremy was the first to break character on opening night. In that same vein (see what I did there?) During the rehearsals, who had you all laughing the most with their outlandish behavior?

KATIE FRALEY: Oh gosh, we couldn’t go two minutes in any rehearsal or show without cracking up one another. This is the funniest and most caring cast I have ever worked with. I have to say though, that Robby constantly makes me howl with laughter. We have such similar (and random) senses of humor that we’ll frequently make jokes at the same time or say what the other is thinking. One of my favorite things about him is that he is so quick-witted. He finds the joke in everything and presents it perfectly. His incredible comedic timing is evident both on and off stage. Any time he does an accent it sends the whole cast into a fit. I still have to keep myself from cracking when he says “wampire.” Robby is such a great physical comedian too and uses this to fully embody each character. It’s hard to keep quiet backstage because even during shows, he is doing something to make us all laugh. Every cast member has made me break character one time or another. Keeping a straight face is an impossible task.

JHPENTERTAINMENT: In addition to Lucy, you also play a couple other roles, including the carriage driver and the elderly housekeeper. For the most part, your characters are the “straight men” to the more outlandish comic antics of some of the others. What’s the most challenging aspect of playing it straight in such an uproarious comedy?

KATIE FRALEY: Honestly the hardest part about playing these other characters is the quick changes! But in terms of playing it straight, it is definitely challenging to present exposition without as much response from the audience. These other characters are often smaller parts meant to drive the plot, so they don’t get as much character development or as many of the killer comedic lines as the main characters we each play. In a farce like this the audience reactions really drive the energy, so it takes a lot more intentional effort to keep the pace steady when playing one of these peripheral characters.

JHPENTERTAINMENT: I’m about to chat with Jonathon Joyner, who plays Lucy’s love interest, Jonathan Harker. I still can’t believe this show marks his first time on stage in a theatrical production. How has he been as a scene partner?

KATIE FRALEY: If I were to watch this show for the first time as an audience member, I would have thought he had been doing theatre for years. He’s a natural. His instincts and character choices come so easily to him. More than anything, he has understood the teamwork element of theatre since day one. He gives such great energy as a scene partner and brings authenticity to each scene. I have always felt comfortable working our scenes. Any little tweak that needed to be made, usually because of different practices between film and stage, he adapted to quickly and with grace. I selfishly hope we have converted him to a stage actor!

Rapid Fire with Jonathon Joyner, Harker and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: As I just mentioned in my chat with your co-star, Katie, while you’ve previously focused on film work, this show marks your stage debut, not just your Playhouse 615 debut, but your first time ever in a theatrical production. What lead you to audition for this show?

JONATHON JOYNER: Yes! this is my first time ever on stage and I just want to thank Ann first and foremost for giving me the opportunity. I came by the audition through a mutual friend, Mick Grayson. He referred me to the audition that was open and I decided to take a chance. I have always been interested in the stage but have maintained my focus on film. I now know the benefits of both and the wonderful expression that you get to convey on the stage.

JHPENTERTAINMENT: When I saw you after the show on opening night, I shared with you my connection to the character of Harker, and I love that you’re playing a character who shares your first name (though spelled slightly different). Had you ever read the original book or seen any Dracula movies? AND…Did you realize there was a character that bore your first name?

JONATHON JOYNER: I have not read the original book but I have seen many of the Dracula adaptations so I have been familiar with the story. Despite this I do not believe I had ever realized the connection in name, but I am so happy that I do now. I do believe I will go back and read the original work now!

JHPENTERTAINMENT: Speaking of names, I love the fun name drops peppered throughout the script, including the ship being named the SS Stoker, a nod to Dracula author, Bram Stoker. Is there a scene or line in the show that you find particular amusing?

JONATHON JOYNER: I think that one of my favorite scenes is the scene where I play a gravedigger and the character has this cockney accent, I find it particularly amusing because cockney has always been one of my favorite accents. I recently watched Legend with Tom Hardy where his character has a cockney accent and I always find it so humorous and engaging. The juxtaposition of standard received pronunciation with Jonathan Harker and the fun animated nature of cockney always brings me joy. There is also a line where I say “I want to introduce you to my cousins Mary and Shelly” a nod to the author of Frankenstein which I always always always love delivering.

JHPENTERTAINMENT: Once bitten, your character undergoes a bit of a transformation. How much fun are you having vamping it up?

JONATHON JOYNER: The energy from the audience when coming out from the transformation is what makes it the most fun. Flipping to a complete opposite form allows me to loosen up on stage and enjoy the energy that is being thrown at me from the audience, I love it so much. It is almost like a release up to that point of my own personal energy being contained and an almost woosah type of moment once the transformation happens haha.

Rapid Fire with Jeremy James Carmichael, Dracula in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: When I interviewed you recently about your role in Aunt Sally’s Wild Ride, I asked you to describe your character in five words. You responded in the most cheekily arrogant way possible. Now you’re playing Dracula in an equally cheeky and arrogant way. So a two-parter for you: 1) How much fun are you having in this role? AND 2) Ever feel like you are being typecast? 😉

JEREMY JAMES CARMICHAEL: 1) Dracula is a blast to play, but it’s even more fun being supported by an incredible ensemble of hilarious and talented actors. I couldn’t be the Dracula you see in this show without the banter and trust I have with each of my co-stars. And Dracula changes from night to night depending on the energy of the audience, and how my scene partners feed me the lines; I’ve played him more petulant and melancholy at some shows, but hyper and more self-absorbed at others. The beauty of live theater! 2) Well gee, Jonathan (an actual line of mine in the show)… I like to think of it as excelling in one certain facet, or being able to demonstrate mastery in a particular trait. But yes, I do think I get type-cast a lot. When I look back at my work, I see many of the same characters: Billy Flynn, Conrad Birdie, Danny Zuko, Sam Carmichael. I hope audiences know that’s not me in real life; I’d consider myself fairly opposite of all those roles I play. But I wish I had their confidence and… cajones.

JHPENTERTAINMENT: When I attended the show opening night, the audience couldn’t stop laughing. I found myself wondering how you all keep it together, then, about an hour in, you broke character, attempting to stifle the giggles during a particularly hilarious scene opposite Robert Coles. During rehearsals, who had the hardest time keeping it together?

JEREMY JAMES CARMICHAEL: How dare you. But yes, breaking character happens to the best of us. Something magical happened the first night the five of us met for our table read; only two had known each other before, but we clicked and then bonded faster and harder than any cast I’ve worked with, and I’ve been doing this for 47 years. Our team is rock-solid, and our love for each other is palpable. When you have that trust, the show can skyrocket. I’ve told my scene partners I have no limits; lean into the comedy if the audience is eating it up. And sometimes jokes go farther than we’ve taken them before, and sometimes — yep. It’s too dang funny to keep inside. My four castmates are BRILLIANT. And so I constantly find myself lost in their performances and sometimes reacting, out of character. I’m only human.

JHPENTERTAINMENT: Let’s talk about those vampire teeth. What’s the most challenging aspect of wearing fangs while trying to deliver your lines?

JEREMY JAMES CARMICHAEL: They hurt! But I think they’re kinda sexy so I always keep them in right after the show. I’m always hoping to get pulled over on my way home.

JHPENTERTAINMENT: Why should folks come see Dracula: a Comedy of Terrors. AND After seeing Dracula: a Comedy of Terrors, what do you hope they come away thinking of long after those two mysterious blood spots fade on their necks?

JEREMY JAMES CARMICHAEL: The show is FUN. Sometimes are is provocative; sometimes it’s used as an agent for social justice or change. And sometimes it’s just damn fun. We’re in a heavy time in our nation and I think the escapism that theater provides is a real benefit. Trust me — you won’t be thinking about your problems for the 90 minutes you spend with us. I think audiences will leave happy, and sometimes, that’s the best you can ask for.

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Playhouse 615’s Dracula: a Comedy of Terrors continues with performances through November 3. At the time of this publication, Limited Tickets remain for the rest of the run with the exception of Saturday, October 26, which has SOLD OUT. Limited seating remains for October 25 & 27 and November 1-3. CLICK HERE to purchase, or contact the box office at 615.319.7031.

Next up at Playhouse 615, Joel Meriwether will direct Every Christmas Story Ever Told (And Then Some!) with performances December 6-22. WATCH THIS LINK for ticket info when it becomes available. For more on the show and to keep up with what’s next at Playhouse 615, check out their website or follow them on Facebook.

Rapid Fire 20Q with director and cast members of ‘For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf’; Opening Circle Players’ 75th Season, at Looby Theater thru October 20

October 18, 2024 by Jonathan

Last Sunday afternoon, I had the opportunity to attend an Opening Weekend performance of Circle Players’ 75th Season Opener, For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf. Since it’s 1976 off-Broadway debut, playwright Ntozake Shange’s creative, emotional piece has has given voice to generations of Black women, but more than that, it’s presented the oft-too-rare opportunity for a theatrical work to not only shed light of difficult subject matter, but to do so to ultimately uplifting and positive result. With those thoughts in mind, as the director, Cynthia Harris, and cast members Kamaryn Robinson, Jailin Roberts, Lauren Fitzgerald and the rest of the company readied for the show’s second and final weekend, I had the chance to pose a few questions for my latest Rapid Fire 20Q.

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Rapid Fire 20Q with cast members and diretor of Circle Players’ For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf

Rapid Fire with Kamaryn Robinson, For Colored Girls’ Lady in Brown

JHPENTERTAINMENT: What can you tell me about Lady in Brown, the character you play in For Colored Girls?

KAMARYN ROBINSON: Lady in Brown is the youngest of 7 and she calls upon her sisters after experiencing something traumatic with her partner. Throughout the play she takes in these rich amazing stories her sisters have to tell her about black women and love. Like many younger sisters, Lady in Brown has a very vivid imagination and vibrant spirit. She represents innocence and self-discovery.

JHPENTERTAINMENT: The first thing I noticed while attending an Opening Weekend performance was the balance of toughness and heart in the way you play Lady in Brown. Do you share those characteristics in your real life?

KAMARYN ROBINSON: I most definitely do. This play is about black women and all that they go through, the good and the bad so I naturally relate. It took a second for me to be able to dig deep and reach that point of vulnerability to show onstage but once our director, Cynthia coached me to that point, Lady in Brown and I became one. As for real life, I am a young woman who is too searching for her identity and discovering empowerment as I grow older.

JHPENTERTAINMENT: What is your earliest memory of theatre? AND…did you know immediately that that was something you wanted to pursue?

KAMARYN ROBINSON: In elementary school, I was cast in my first production as Cinderella. From that moment performing became an immediate passion of mine. Since elementary school, I have not stepped off the stage since and I don’t plan to anytime soon. Theater is a form of healing and therapy that not only the audience receives but the performers receive it too. In every production I perform in I have the same number one fan in the audience, my Mom!

JHPENTERTAINMENT: From what I understand, while you appeared in a few productions at Tennessee State University, including Chicken & Biscuits, Steel Magnolias and Zooman & the Sign, this is your first show at Circle. What’s been the most rewarding aspect of being in a Circle show as the company celebrates their 75th anniversary?

KAMARYN ROBINSON: Being apart of the Circle Players family has been such a huge blessing and amazing experience. This is my community theatre debut and what a better way to start than with Circle Players. This company has the most incredible and talented people and I have been so lucky to be connected with beautiful black women who uplift me. I can’t wait to work with them again!

JHPENTERTAINMENT: What’s the most challenging aspect of playing Lady in Brown?

KAMARYN ROBINSON: The challenging aspect is navigating the complex emotions. Lady in Brown begins the play in a very hard place questioning how the world really sees black women. She then moves to a youthful optimistic moment that requires a lot energy while also portraying the pain of losing a sense of innocence. Finding that joy inside of the pain was very difficult for me especially while I worked alongside this ensemble of six other women. Portraying this story was a group effort and took a lot of connecting and trust in each other to be able to tell these relatable stories in a safe space.

Rapid Fire with Jailin Roberts, For Colored Girls’ Lady in Yellow

JHPENTERTAINMENT: As Lady in Yellow, you’re among the first to recite a monologue, and what a monologue it is. When I chatted with your director, I noted the juxtaposition of joy and pain peppered throughout the piece. Your first segment is a prime example of that. Do you have a pre-show routine to get it the right mindset for such an emotional show?

JAILIN ROBERTS: I actually have a pretty long pre-show routine to center myself before I step on stage! I start by listening to my gospel playlist to take a moment to praise and give thanks to God. It’s such a blessing to perform and I never want to take it for granted. I also believe that as a Black woman For Colored Girls is a spiritual experience and if I don’t feel grounded I might miss out on it. I have the tendency to get extremely nervous before I perform. Before places I stand in front of this mirror backstage with my headphones on and go through all my lines! To free up the “what if I forget/mess up” so I can play with my sisters on stage. Lastly, I stretch for my splits while praying and giving myself a lot of affirmations!

JHPENTERTAINMENT: Since first being published in 1976, For Colored Girls has been described as a work of choreopoetry. On the choreo side, this production features movement choreographed by Tosha Marie, who also happens to be Circle Players’ newly appointed Board President. You worked with Tosha in TMProductions’ Pippin back in 2022. How is Tosha as a choreographer?

JAILIN ROBERTS: Let me tell you! I absolutely adore Ms.Tosha and her work ethic. She is such a light and as a choreographer she knows how to encourage and push. As artist we can limit ourselves or believe the talents we display before honing in on our craft is the cap. Ms.Tosha always sees more than what we tell ourselves. As a teacher, trainer, and choreographer she has shown me that performers are also athletes and we should train our talents like one. Most importantly she’ll always want whoever she’s directing to believe in themselves and exercise grace in the learning process. Ms.Tosha is truly amazing and I am always excited when she’s choreographing.

JHPENTERTAINMENT: Who is Lady in Yellow to you?

JAILIN ROBERTS: To me she is who I am as a storyteller. Lady in yellow is how we have fun catching up with our cousins and aunties. How our moms lived many lives and think it’s funny to let us in on it at random times. Lady in Yellow is me, my mom, and all the Black women/girls who indulge in telling stories. It’s what I do on and off the stage. I love to bring life to the experiences I relay. I believe it’s what makes graduation nite so much fun because it’s how I express myself naturally.

JHPENTERTAINMENT: If you were to do this show again, what other Lady could you see yourself portraying and what is it about that role that might interest you?

JAILIN ROBERTS: I would love to portray Lady in Brown if I am blessed enough to do this show again. Her opening monologue is so beautiful and moving. It’s the starting point of the show that gives a voice to all the Black women on stage and in the crowd. Brown has so much power in that moment I would love to have my own rendition someday.

JHPENTERTAINMENT: Circle Players is Nashville’s oldest continuing theatre company. What’s it like knowing you’re part of not just their important 75th Season milestone, but also a much-needed new direction for Circle?

JAILIN ROBERTS: I’m very excited and proud that the Board chose this show as their season opener. It’s exciting because it’s a statement that we’re here and we have voices to uplift. It’s important that we recognize that there isn’t enough Black theater. Our stories are ones that need to be told consistently! Black women have such a unique experience. Circle Players opening up the conversation at our talkbacks and shedding light on the complexities of our many experiences was on purpose. Having the amazing director Cynthia Harris take on this project was on purpose. We need more people supporting black theatre and uplifting our voices and stories. I give my flowers to Circle Players Board, Tosha Marie, and Cynthia Harris for contributing this show to the community.

Rapid Fire with Lauren Fitzgerald, For Colored Girls’ Lady in Blue

JHPENTERTAINMENT: What do I need to know about Lady in Blue?

LAUREN FITZGERALD: Lady in Blue is everyone’s favorite auntie! She is going to catalyze the hard conversations and also catalyze the healing. She is a straight shooter that loves and cares deeply about her sisters and the world around her. Lady in blue is a Capricorn with a Libra moon rising.

JHPENTERTAINMENT: You earned a degree in Theatre at UT Knoxville. Anytime I hear UT and Theatre, I’m gonna ask about my friend Carol Mayo-Jenkins…did you study under Carol? AND…What’s your favorite memory of your time at UT?

LAUREN FITZGERALD: I surely did study under Carol Mayo-Jenkins. She was an incredible influence on my career and journey as an artist and performer. I’m deeply grateful that she, and the rest of the theatre faculty believed in me and poured into my craft. I had two experiences that stand out at UT. One moment on stage at UT was my performance in The Story of Opal. It was my first opportunity to perform in an ensemble cast. The story that was rooted in a young girl’s exploration of nature and society. It was written from a single voice with rather obscure language and was devised by 5 diverse performers and a non traditional musician. That collective exploration was deeply impactful and has informed how I approached other creation processes. The other was being able to embody Alma Hix in The Music Man, primarily because it was a huge cast and we got to play with talent not just from the student body but from the community and our professors (including Carol Mayo-Jenkins). I’d also be remiss if I didn’t mention the profound impact that the Carpetbag Theatre, then led by Obie award winning playwright, Linda Parris Bailey, influenced me during my journey at UT. Having interned and performed there all through my time at UT, I found a theatre community that embraced me and nurtured my love for works like For Colored Girls who Committed Suicide/When the Rainbow is Enuf. I found home in Carpetbag and I am forever grateful.

JHPENTERTAINMENT: I love the feistiness in which you play Lady in Blue, as evidenced in one of your earliest lines: “you gave it up in a Buick?”. I literally LOL’d when I heard that while attending Opening Weekend. Gotta know…did you draw that feistiness and energy from your own personality or is there a Lady in Blue in your family or friends circle upon which you borrowed some of her traits?

LAUREN FITZGERALD: It’s all me, and I am all the women in my family. I am that auntie. Serendipitously, I did not get called back for Lady in Blue. But, after getting cast in the role I knew that I had a lot of my personality that I could contribute to the role. My friend circle is a strong mix of all of the colors. We show up different in different ways depending on the time and the circumstance. But, if you would ask my friends who my personality most aligns with, it would be Lady in bBlue.

JHPENTERTAINMENT: Your cast bio concludes with, “she believes in the color yellow”…for the uninitiated, care to elaborate?

LAUREN FITZGERALD: Sure! To elaborate (and ramble a bit lol)I believe I am bit synesthetic. I can see sounds sort of like how Pharrell Williams has described in interviews. I believe that when I experience the color yellow rather it be visual or sonically, it has the power to rejuvenate or reset my nervous system. It makes me feel good. I am an optimistic person by nature. So I feel like the color yellow almost resets my optimism should it be wavering for whatever reason. Alice Walker found her love for the color purple by noticing shadows in nature and how purple is everywhere which is so beautiful. However my belief in yellow is kind of similar yet opposite. The color yellow, also everywhere, represents light to me. Light is what brings understanding and sight. My passion is bridging understanding and bringing light to build genuine connections. Yellow represents light and love in a world with so much darkness.

JHPENTERTAINMENT: Why is For Colored Girls as relevant for today’s audiences….of ANY race as it was when it first premiered?

LAUREN FITZGERALD: This timeless piece tackles multiple intersections of belonging and care. It particularly addresses how marginalization can impact families. For me, this is just one perspective of how the social atrocities of this country have impacted our relationships, our ability to sustain healthy families, our self identities, and the health of our mind and bodies (both men and women; considering Beau Willie Brown). It helps us by listening to this story and considering how we might look to our own individual power or develop empowerment to find a sense of yellow, a sense of light and love to help rectify and combat these issues of humanity.

Rapid Fire with For Colored Girls’ director Cynthia Harris

JHPENTERTAINMENT: You mention in your director’s note in the For Colored Girls’ program that you first read Ntozake Shange’s work when you were in the 5th grade. Do you remember your initial thoughts on the piece?

CYNTHIA HARRIS: Absolutely! I remember looking at the cover and reading the title while My Aunt Joyce explained how important the book/script was to her. She also told me I was old enough to read it. Being old enough made me feel special. I used the poem No Assistance by Lady in Red as my poem for a 5th grade Forensics competition at Meigs Magnet. My drama teacher approved of keeping the one cuss word and I was thrilled. I understood the pieces then, but not anywhere near the way I understand and have lived these words in my 46 years.

JHPENTERTAINMENT: In some way, was it that early connection to the work that ultimately lead you to direct this production?

CYNTHIA HARRIS: It made sense to me as a young person. It affirmed that the stories I overheard while my mother worked in her beauty salon or as she talked to her sisters on the phone, that they were as important or powerful as I felt they were. This is absolutely a full circle moment for me. As a playwright, my chosen format is the choreopoem. It gives me the most liberty to tell Southern Black women’s stories in an uninterrupted format. When Circle Players’ Board President Tosha Marie asked me to direct, it didn’t take me anytime to say yes. I have always wanted to direct this play.

JHPENTERTAINMENT: I’ve always been intrigued by the duality of the show’s title. The juxtaposition of the bleakness of the thought of suicide paired with the hopefulness of a rainbow. The show itself is a brilliant balance of emotions. Do you have segments that stand out to you?

CYNTHIA HARRIS: And in that bleak juxtaposition is also the remedy. The rainbow of women in our lives can and do save us by witnessing our stories and declarations of power. I love them all. I can’t choose one. One of my favorite lines from No More Love Poems is “being Black and being colored is a metaphysical dilemma I haven’t conquered yet.” Also from that section, “I’m finally being real, no longer symmetrical and impervious to pain.” For me the sadness, anxiety and depression are increased by the emotional labor expected of Black women and other women of color. If we can strip all the layers of performance we do to keep others happy or just to survive, we can find our joy and our rainbows.

JHPENTERTAINMENT: Over the years, I’ve seen a few productions of For Colored Girls. Typically, it’s presented almost like a poetry reading, where the primary orator takes center stage, but I love that you’re presenting it more like a girls’ weekend wherein the women seem to be sharing their stories with one another. You speak a little about this decision in your director’s note, but for those who’ve not yet seen the show, can you tell me a little more about presenting the show in this manner?

CYNTHIA HARRIS: For that reason you observed. It is usually presented in a more abstract and minimalist way. The play is 50 years old, and I wanted to do something different. I wanted color and costume changes. I wanted to layer this idea that the characters are all Sisters, who are reuniting because one has experienced something traumatic. The creative challenge was to add this layer of story and not change any of the words or their order in the choreopoem. I also wanted to show my relationship to this sacred text over time. I show it in my music exploration and use in transitions throughout the show. I also thought about all the places that I have come together with my women friends to retreat and reset. We sit together in living rooms on sofas, playing games and having long conversations. We sit in kitchens around tables with meals we’ve lovingly prepared for each other. We sit on the porch; we’re Southerners after all. I wanted to mirror back to the audience their everyday brilliance and resilience.

JHPENTERTAINMENT: What do you hope audiences take with them after having seen For Colored Girls?

CYNTHIA HARRIS: That BIPOC women and female identifying people are seen and loved. We are complex humans and God/Higher Power is with us in all our experiences and choices, good or bad. I want them to find God in themselves and to LOVE HER FIERCELY!!!

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Circle Players’ For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf wraps its two-week run with performances at Z. Alexander Looby Theatre (2302 Rosa Parks Blvd, Nashville, TN 37228) Friday, October 18 at 7p.m., Saturday October 19 at 2p.m. and 7p.m. and Sunday, October 20 at 2p.m. CLICK HERE for tickets.

Following For Colored Girls, Circle Players will begin preparing for their Winter presentation, And The World Goes ‘Round, a musical review of the songs of Kander and Ebb. Auditions will be held Saturday, November 2 at CLICK HERE for more info, character details and to sign up to audition. Performances of And The World Goes ‘Round will be January 10-26, 2025. CLICK HERE for tickets. Be sure and follow Circle on Facebook, Insta and TikTok for the latest news from Nashville’s oldest continuing regional theatre company.

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. In the meantime, #GoSeeTheShow!

Rapid Fire 20Q with Cast and Creatives of ‘Moulin Rouge’; National Tour at TPAC beginning October 8

October 8, 2024 by Jonathan

Having been a fan of Moulin Rouge since first seeing the Baz Luhrmann‘s 2001 film, I was trilled to learn that the recent 10-time Tony-winning Broadway stage musical would be making its way to TPAC as part of their current Broadway at TPAC season!

My excited expanded ten-fold when I was recently given the opportunity to interview members of the tour…and not just anybody associated with the company, but three of the show’s lead actors AND the show’s wardrobe supervisor.

So put on your sparkliest of diamonds and get ready for my most Spectacular! Spectacular! Rapid Fire 20Q ever!

Rapid Fire 20Q with Cast and Creatives of Moulin Rouge National Tour

Rapid Fire with Moulin Rouge’s Harold Zidler, Robert Petkoff

JHPENTERTAINMENT: I’m just gonna be honest…I LOVE the character Harold Zidler, the role you play in the National Tour of Moulin Rouge. He’s truly one of the most flamboyant, hilariously brilliant roles in modern musical theatre. Who is Harold Zidler to you and how much fun have you been having playing him this past year?

ROBERT PETKOFF: For me Harold is this very complicated man who has one goal when the show starts: Keep the party going. Harold is so many things. Harold is the consummate showman. A charmer, a father figure, a grifter, a survivor. He and Satine have both made it from the mean streets to the pinnacle of entertainment in Paris of the 1890’s through talent, sheer grit and determination. I think he’s both a kitten and tough as nails when he needs to be. He is truly one of the most fun characters I’ve ever played. There are so many different versions of himself that he shows throughout the evening and that’s an actor’s dream.

JHPENTERTAINMENT: While Moulin Rouge is a jukebox musical, it’s so much more. Heck there’s something like fourteen songs featured in the opening number alone! Speaking of the music, a year after taking on the role of Zidler for the tour, is there a musical moment that you still revel in being a part of night after night?

ROBERT PETKOFF: I really enjoy hearing the audience when I begin singing Chandelier. They start to laugh when they realize what the song is and that Harold is going to sing it. I love the song and NEVER thought I would be singing it on a stage. It’s a perfect song for the character because the chorus has the feel of a party but there’s a sense of desperation at its core.

JHPENTERTAINMENT: When not onstage, you also enjoy an award-winning career as a audiobook narrator and voice over artist. What’s been the most bizarre or most memorable commercial or audiobook gig you’ve had?

ROBERT PETKOFF: The first thing that comes to mind is doing part of Hamlet‘s “To Be Or Not To Be” monologue as a dog for a commercial years ago. I sounded a bit like Scooby Doo. It was crazy. Some of the audiobook work can feel so insane as I’m voicing every part. It can be quite interesting (and funny) doing love scenes with myself, for instance. The voice work I’ve done has been a real lifesaver in my career allowing me to pick and choose roles in my stage career.

JHPENTERTAINMENT: While Zidler’s excited and excitable showman voice is a huge part of the character, there’s also the look. What can you tell me about your transformation to Zidler with the help of Hair and Makeup Supervisor, Tereza Cordeiro?

ROBERT PETKOFF: When I first joined the company I was asked to use my own hair and let it get wild. A combination of volumizing hair powder and lots of hairspray. I have to say it REALLY helps me get into the character to do the hairstyle. Looking at myself in the mirror and seeing that hair and my mustache and goatee really propels me into Harold. It’s a very showy look that I get to work against from time to time. When Harold gets very serious it is an odd juxtaposition with my look but I think that makes it much more interesting.

JHPENTERTAINMENT: Of course Moulin Rouge is just the latest National Tour of which you’ve been a part. If memory (and a little research) serves, your last visit to Nashville during a tour that occurred back in 2017 when you appeared at TPAC as Bruce in Fun Home. During that visit did you discover any Music City spots that you hope to introduce to your Moulin Rouge family during your upcoming Nashville tour stop?

ROBERT PETKOFF: Well, the first thing that comes to mind is all of the honky tonks on Broadway. I loved walking down Broadway at night after the performance of Fun Home and passing place after place with amazing live music. There’s such fantastic energy there. So I can’t wait to introduce that experience to some of my castmates.

Rapid Fire with Moulin Rouge’s Christian, Christian Douglas

JHPENTERTAINMENT: While preparing to chat with you, I did my usual Internet sleuthing..I love that your insta lays it out so clearly..”a songwriter named Cristian playing a songwriter named Christian. How would you describe Christian?

CHRISTIAN DOUGLAS: I would describe Christian as a heart-forward hopeless romantic, who comes to Paris seeking art, adventure and above all else, love. His journey through the show is a stripping away of his innocence and his naive view of the world.

JHPENTERTAINMENT: It’s been just over a year since you took over the role of Christian on tour. Has your perception and portrayal of Christian changed in the past year?

CHRISTIAN DOUGLAS: My portrayal and perception hasn’t necessarily changed but rather deepened. I have always felt connected to Christian, the character, but after a year of performing the same role, I think you start to sink a little deeper and find new moments of stillness and groundedness amidst the sometime chaotic world of the Moulin Rouge, allowing for the heightened moments to really pop and the real, more serious moments live in a more authentic place.

JHPENTERTAINMENT: Baz Luhrmann directed, produced and co-wrote the 2001 film upon which the stage musical is based. I, myself have been a fan of everything Baz since Strictly Ballroom. What was your introduction Luhrmann’s work and what is it about his creativity that you admire most?

CHRISTIAN DOUGLAS: I first saw Moulin Rouge when I was in high school and loved it ever since. I think he has a genius way intertwining the larger than life, spectacular and farcical elements, of the story with the realistic, emotional and heartbreaking elements of the love story. He truly transports you to another world.

JHPENTERTAINMENT: Prior to taking on your current role, you’ve previously been part of equally iconic theatre, including Muny’s West Side Story and the Off-Broadway revival of Kinky Boots. These shows, like Moulin Rouge, boasts fabulous musical moments. On that subject, Act 1’s closer Elephant Love Medley, a personal favorite musical moment of mine from the film and a continuing favorite from the stage musical’s score, features a few updates. Do you have a favorite musical moment in the show yourself?

CHRISTIAN DOUGLAS: While I love the epic nature of El Tango de Roxanne, I always love singing Come What May the most. The song is so timelessly beautiful and that moment between Christian and Satine always feels really special. It is their last moment to connect before things start to go south.

JHPENTERTAINMENT: I’m about to chat with your new leading lady, Arianna Rossario, who assumed the role of Satine just a few weeks ago, almost a year to the day of you taking on Christian full time. Did you offer her any advice as she stepped into the spotlight?

CHRISTIAN DOUGLAS: No advice needed! She is an absolute star and a pleasure to share the stage with. I’m just excited to share in this new chapter of leading the show together.

Rapid Fire with Moulin Rouge’s Satine, Arianna Rosario

JHPENTERTAINMENT: After having been part of the Broadway ensemble in 2022, you initially joined the tour as the alternate for the role of Satine, but as of the tour’s recent Detroit dates, you’ve now assumed the role of Satine. What’s your Moulin Rouge journey been like so far and how excited are you to be taking on the pivotal role of Satine full time?

ARIANNA ROSARIO: My Moulin Rouge journey so far has been unlike anything I’ve ever experienced. I was a huge fan of the film when it originally came out and always felt like it would lend itself well to a stage adaptation. I originally saw the Broadway production on reopening night, 9/24/21 and was so blown away that I knew that I wanted to be a part of the show at some point in my career. I joined the Broadway company a few months later in March of 2022 as a part of the Heels Ensemble and cover for Arabia, during my time there the directing team reached out to see if I would be interested in doing a work session for possible coverage of Satine. Flash forward to going out on tour as the Alternate for Satine September of 2023, and now officially taking over the full time role of Satine 9/24/24. It feels like a huge full circle moment. It’s not easy trying to change the perception of what you are capable of doing when in the ensemble of a show, sometimes this industry likes to put people in boxes so that its easier for the people that make the decisions to find a place for you. I am forever grateful to our Creative Team for seeing something in me and in turn trusting me to tell this beautiful story every night.

JHPENTERTAINMENT: Is there an aspect of Satine’s personality that you admire most and might want to incorporate into your own life?

ARIANNA ROSARIO: I feel like in my real life I have more of a quiet confidence to me whereas Satine has this fierceness about her that is so apparent from the second she comes down on the swing. She’s definitely taught me how to be more comfortable standing in my power as a woman.

JHPENTERTAINMENT: Like you, I’ve been in love with Moulin Rouge since seeing the film back in 2001. I can’t tell you how excited I am to finally see the stage musical. What more can you share about your memories of being introduced to Baz’s work?

ARIANNA ROSARIO: I absolutely loved the film when it came out, I used to create my own dance numbers to the soundtrack and perform them for an imaginary audience in my bedroom. There’s something special about the worlds that Baz is able to create, it allows you to suspend reality for a second and become so immersed in the story being told.

JHPENTERTAINMENT: Can we just talk about Satine’s entrance with the swing? It’s such a huge moment int he show. Is that something that has to be adjusted for each city on the tour depending on the venue logistics and capabilities? What was the rehearsal process like for this iconic scene in particular?

ARIANNA ROSARIO: When venues book our show they usually have a reference of the space we are going to need to do the show in its entirety. We travel to each city with our own show deck, which gets broken down and set up with each venue change. That deck has tracks for set pieces and scenery which are typically automated. The rigging for the swing is also something that lives in the fly space above the stage, so its going to be the same city to city as well and because of that we’ve never had to adjust it. The rehearsal process is actually quite quick. In preparation for my initial put -in (its a rehearsal where we run the show with costumes and all of the normal show elements without an audience) I had a day where I was able to go up in the swing and figure out how I needed to move to minimize the swinging from side to side. Then the day of my put-in I was able to go up once more in costume to see how that felt in the corset.

JHPENTERTAINMENT: A huge part of the visual excellence of Moulin Rouge comes in the form of the gorgeous costumes. I’m about to chat with Michael Hannah, the company’s Wardrobe Supervisor, so to transition into that…do you have a favorite Satine costume? AND…why is it your favorite?

ARIANNA ROSARIO: They are all so incredibly beautiful it’s hard to choose just one! I have two for different reasons, the first would have to be the corset I wear during Chandelier as The Green Fairy. The detail in the beading on it is so beautiful and it’s so different from a lot of the other corsets in the show. My second favorite is the red dress I wear for Roxanne. It reminds me so much of the dress Nicole Kidman wears in the Elephant Love Medley in the film and just feels so iconic for Satine.

Rapid Fire with Moulin Rouge Wardrobe Supervisor, Michael Hannah

JHPENTERTAINMENT: Alright, let’s just get into it…how many costumes are there in Moulin Rouge?

MICHAEL HANNAH: There are 220 complete costumes in the show.

JHPENTERTAINMENT: As Wardrobe Supervisor, you’re entrusted to the care and maintenance of each and every piece of wardrobe originally conceived by the show’s Tony-winning costume designer, Catherine Zuber. Is that fact still a pinch me moment for you?

MICHAEL HANNAH: It is quite an honor to be entrusted with the care of these beautiful costumes. I admire Catherine and her work a great deal.

JHPENTERTAINMENT: Of course you’re not alone in those responsibilities. You not only have a wardrobe team, but I understand that in each city of the tour, you bring in local wardrobe artisans to help keep the costumes show ready. Does that help keep your job fresh and exciting?

MICHAEL HANNAH: I have 2 Assistants that travel with the show as well as an advance person. In each city we hire 9 Dressers, a full time Stitcher and a full time Laundry person. Moving to different cities with the show is sometimes challenging but exploring new places is always exciting.

JHPENTERTAINMENT: Which cast member has the most wardrobe changes and how many are there for them?

MICHAEL HANNAH: Satine has approximately 14 costume changes some of which need to take place in 45 seconds for her to make her next entrance.

JHPENTERTAINMENT: I typically end these interviews with a variation of this question…What do you hope audiences come away from Moulin Rouge remembering log after the lights dim and the music fades?

MICHAEL HANNAH: I feel one of the most exciting aspects of Moulin Rouge is the lavish decadence of the era in which the show is set. The audience is exposed to a colorful feast for the eyes. Along with the beautiful love story and all of the music is a visual experience that I think the audience will take with them.

Moulin Rouge brings is sparkling musical magic to TPAC with shows Tuesday, October 8 thru Sunday, October 20. CLICK HERE for tickets. Not in Nashville, but wanna catch the show on tour? Well, you certainly can can can..CLICK HERE for the show’s official site and follow on Facebook, X, Insta and YouTube to see where they’re headed next.

Following Moulin Rouge, TPAC‘s Broadway season continues with Shucked, November 5-10. CLICK HERE for more info and to see what else is headed to TPAC. You can also follow TPAC at their official site and on socials: TPAC on Instagram, X, YouTube and Facebook.

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

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

Rapid Fire 10Q with Director and Cast of ‘Lithium & Xanax & All of My Friends’; World Premiere production onstage at Darkhorse Theatre October 4-12

October 3, 2024 by Jonathan

Lithium & Xanax and All of My Friends, a thought-provoking play centering ‘round a young gay man struggling to finish his long-promised novel while simultaneously dealing with self-doubt and cerebral upheaval is the latest work from Nashville-based playwright, Robert Coles. Quite the departure from his most recent production, the southern comedy Aunt Sally’s Wild Ride, which recently wrapped a sold out run in Nashville.

Having first been introduced by way of a Zoom reading during the COVID-19 pandemic, Lithium & Xanax and All of My Friends enjoyed a successful workshop in New York in August 2024. Now comes time for a fully fleshed-out production as Brand Spankin’ New Theatre presents the World Premiere production of Coles’ Lithium & Xanax & All of My Friends at the Darkhorse Theatre beginning Friday, October 4 and continuing through Saturday, October 12.

As the cast and crew ready the piece for their Music City opening night, I recently had the opportunity to pose a few questions to the show’s director, Bradley Moore and cast members Payton Justice and Taryn Pray for my latest Rapid Fire Q&A interview in an effort to get a little insight into the show. What follows are those conversations.

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Rapid Fire 10Q with Director and Cast of Lithium & Xanax & All of My Friends

Rapid Fire Q&A with Lithium & Xanax & All of My Friends lead actor, Payton Justice

JHPENTERTAINMENT: How would you describe Adam, the character you play in Lithium & Xanax & All of My Friends?

PAYTON JUSTICE: Adam’s a young writer who’s indecisive, headstrong, and a bit neurotic. Honestly, just a lovable mess just trying to figure things out. He’s been through a lot—losing his dad, the trauma of conversion therapy, dealing with manic depression, and having to manage a lot of guilt from his past mistakes. He spends a lot of time in his own head, which really trips him up.

JHPENTERTAINMENT: The subject matter of the work is some pretty heady stuff. How do you prepare for the intensity of the scenes? AND…what’s your favorite way to decompress after such intense work?

PAYTON JUSTICE: It gets intense for sure. I try to remind myself of my own personal experiences to find the emotions he’d be feeling. I try to remember a similar conversation or conflict, and remind myself of how that felt or something that was said.

Bradley Moore’s been awesome in helping me fine-tune Adam’s intentions. Truly a fantastic director. The cast has been awesome too. They push me through tough moments, and sometimes their choices completely change how I see a scene, which is really cool.

To decompress, I try to leave the work in the rehearsal room or at the theater. My cats and video games definitely help me unwind too.

JHPENTERTAINMENT: While Adam is aware of his shortcomings, he doesn’t seem to know how to move past them. Heck, I can totally relate myself. Has exploring this aspect of the character motivated you to move full-steam ahead in any aspect of your own life?

PAYTON JUSTICE: Yeah, totally. Playing Adam has been a bit of a wake-up call. I moved to Nashville at the beginning of 2020, right before everything went crazy, and it’s taken time to find my rhythm. I’m really feeling ready to focus in on acting and let go of all the things that don’t matter in the bigger picture.

Rapid Fire Q&A with Lithium & Xanax & All of My Friends cast member Taryn Pray

JHPENTERTAINMENT: What can you tell me about Mom, the character you play in Lithium & Xanax & All of My Friends?

TARYN PRAY: What I love about this role is yes, the main character I play is “Mom,” but I also play a few flashback and ancillary characters as well – which is so much fun as an actor! There is a lot of comedy in the other characters that I play, and then I get to be this very complex character of “Mom,” as she is trying to navigate her broken relationship with her son in his darkest moment. It is very compelling because you understand her perspective as well as Adam’s – not one person is to blame. Before I read this play, I thought the mother might be the villain in this story, but she is not. Is she flawed? Absolutely. Did she make some mistakes? Yes. But what is really beautiful to me is that they come to understand each other and can move forward.

JHPENTERTAINMENT: I understand the character of Mom wasn’t even really a character in the earlier iteration of the play, only a ‘flashback’ as played by another cast member, but following the recent NYC workshop of the piece, the playwright revised the script and fleshed out Mom as a full character. That said, how excited are you to be bringing this character to life on stage for the first time anywhere?

TARYN PRAY: I absolutely love acting in new works! It’s really exciting to originate a role and bring your own take, without any reference to how other actors have performed it. Also knowing that this play is very much rooted in the playwright’s own life story, I feel a tremendous amount of responsibility and honor in playing this role. I am thrilled that this character was expanded as a result of the workshop, and love seeing the nuance in her complicated relationship with Adam.

JHPENTERTAINMENT: From what your director told me, you two had sort of worked together previously…I say sort of because during the pandemic, you were part of a couple of Bradley Moore’s The Big Read Zoom events, in which he presented readings of some iconic film scripts as performed by area actors. I gotta tell you, those readings were such a blessing to the theatre community as they allowed us to connect—though virtually—during a time when theatre was so missed. Now you’re working with Bradley face-to-face and in person as your director, so I gotta ask..how has the experience been so far and what do you appreciate most about Bradley as a director?

TARYN PRAY: Oh my goodness, yes! I met Bradley for the first time virtually, and those readings truly were such a bright light in a dark time. Having the opportunity to perform when we were all stuck at home was definitely a blessing. And now getting to work with him in this play has been an incredible experience. What I love about Bradley is he has such a clear vision as a Director; he has brought out so much from the cast as we are developing these characters, while still giving us space to make them our own, and he has created some truly beautiful imagery on stage. He really thinks through and has a purpose in all the little details he gives in his direction, and I’m just so excited for people to see it. Also, he’s just a blast to work with 😉

Rapid Fire with Lithium & Xanax & All of My Friends director, Bradley Moore

JHPENTERTAINMENT: How did you come to direct Lithium & Xanax & All of My Friends?

BRADLEY MOORE: I was actually lucky enough to perform in the first reading of this play on Zoom & FB Live way back in the Covid-y days of 2020. I was totally honored when the playwright, Robert M. Coles, reached out to me earlier this year and told me he had been working on the script and wanted me to direct the world premiere of the show. I even spent some time in NYC this summer observing the workshop of the play, where some things changed and so much subtext was explored. It has been a wonderful journey from my first connection to the piece to where we are today. The show is definitely ready for its Nashville maiden voyage, especially with this insanely talented cast.

JHPENTERTAINMENT: What can you tell me about your cast?

BRADLEY MOORE: They are bananas. I have not directed a show in Nashville in five years; it was so cool to have auditions for this show and see that the talent in Nashville is still just as incredible as it has always been. This cast is filled with six dynamic artists who take risks, make strong choices, challenge themselves, challenge me, crave collaboration, exude passion, and blow me out of the water every single day with their insane talent. Not to mention, each and every one of them are kind and empathetic humans who just love what they do. I love the family we have built these past five weeks. And their connections and chemistry really come out on stage and through these complex characters they have created.

JHPENTERTAINMENT: You’ve not just assembled a talented cast, but you’ve surrounded yourself with a who’s who crew, among them, Cat Eberwine as your costumer. When does the play take place and how important is wardrobe in completing the look and feel of the show?

BRADLEY MOORE: This play takes place in 2022, so basically, the recent past. Costumes should always enhance the characters and assist in bringing them to life. We made more simplistic choices with the costumes, but the choices really do help to define these characters. As a director, I love some subtle Easter eggs hidden throughout the show. We definitely achieve that with this show through the set and costumes. It helps to keep production elements fresh and exciting, plus adds a layer of intrigue to the whole experience. This show is a journey, not just for the characters, but the audience too. Our costume and set choices are designed to really enhance that circumstance. I am so fortunate to have had Cat Eberwine as our Costume Czar and Jaymes Campbell as our Set Magician. These are two people who know me well, know my process and style, and really just knocked it out of the park. We could not have done this show without them. Also, big shoutout to Mary Hankins for always being an incredible stage manager, Robert Allen for his beautiful lighting, and Josiah Kareck for understudying every single role. Truly, surrounded by the best, on and off-stage.

JHPENTERTAINMENT: What do you hope audiences come away thinking about long after seeing Lithium & Xanax and All of My Friends?

BRADLEY MOORE: As a director, I always say — if the audience walks away feeling something, then we have done our job. However, it is impossible for us to always know what the audience will feel. With a play like Lithium, I believe people’s life experiences will inform what they take away from this show. The play is funny, yet beautifully heavy and impactful. I don’t think it is possible to sit through this 75 minute show and not feel a single thing; in fact, I think it is more likely that someone watching will experience all the feels. It is a rollercoaster ride, so just buckle in and get ready to take a journey. I am excited to see the feedback we get from this tremendous piece that Robert gifted us.

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Brand Spankin’ New Theatre’s World Premiere production of Lithium & Xanax and All of My Friends kicks off Friday night, October 4 at the Darkhorse Theatre (4610 Charlotte Ave, Nashville, TN 37209). Tickets are $20 and can be purchased HERE. The show runs thru Saturday, October 12. Performance schedule is as follows: Opening Night, Friday, October 4 at 7:30p.m. (There’s a Show+Opening Night Party ticket option available for $40), Saturday, October 5 at 7:30p.m., Sunday, October 6 at 2:30p.m., Tuesday, October 8 at 7:30p.m., Thursday, October 10 at 7:30p.m. (Thursday’s performances offers a special 2-for-1 ticket price), and Friday & Saturday, October 11 & 12 at 7:30p.m. CLICK HERE for more info. Check out Brand Spankin’ New Theatre‘s Official Site HERE or follow them on Facebook.

Rapid Fire 20Q with cast of ‘Waitress’; Opening Nashville Rep’s 40th season with shows at TPAC’s Polk Theatre thru Sunday, September 22

September 19, 2024 by Jonathan

Following last weekend’s hugely successful opening, Nashville Repertory Theatre continues celebrating their 40th season opener as the sweet treat that is Waitress: The Musical resumes with its second and final week on stage at TPAC’s Polk Theatre with performances Thursday-Sunday, September 19-22. Based on the 2007 film of the same name, the stage musical, with music and lyrics by Sara Bareilles and a book by Jessie Nelson, made its Broadway debut in 2016, garnering four Tony nominations during the show’s initial run. As the 2024/2025 season opening at Nashville Rep, their presentation is directed by Lauren Shouse and features a cast lead by Sarah Aili, Annabelle Fox and Piper Jones. Last week, while the cast was readying for Opening Night, I had the chance to chat with these four talented individuals for my latest Rapid Fire 20Q interview feature. What follows are those conversations.

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Rapid Fire 20 Q with cast members and director of Nashville Rep’s Waitress: The Musical

Rapid Fire with Waitress star, Sarah Aili

JHPENTERTAINMENT: Who is Jenna to you?

SARAH AILI: Jenna is life unfolding. Jenna is a dreamer and someone who doesn’t know that she’s allowed to believe in herself. Jenna is a remarkable woman and human who gets stuck in the folds of what her small town would call “normal”, or at least what the webs of her family patterns would call “normal” and she, through relationships and her own will to breathe in life, overcomes the weight of her circumstances. She is a raw, radiant and real woman.

JHPENTERTAINMENT: Among you co-stars is Dustin Davis, who plays Jenna’s domineering husband, Earl. There are some volatile scenes between the two. How do you prepare for those moments and what helps you put those tense feelings aside afterwards?

SARAH AILI: Wow, that’s a big question! Honestly, I’m so grateful for the rehearsal process—that’s where I find my truth in the emotions and circumstances of each scene. When it comes to high-stakes moments like the ones between Jenna and Earl, I like to draw from my own life experiences. I connect to something real that I’ve felt, something similar to the emotions in the scene, and allow myself to fully feel it. From there, I make decisions as an actor about what will best serve both my scene partner and the show. It’s a bit like choosing the right spices for a pie! To let it all go, to the best of my ability, I put my attention on what is in front of me and with this show, there is so much joy, on and off stage!

JHPENTERTAINMENT: What is it about the character of Jenna, or the story of Waitress that you find relatable?

SARAH AILI: Jenna and I share a lot in common as women—we dream, we doubt, we love fiercely, we crave, we bake, we love our mamas, we have complex relationships, we face our fears, we rely on the important women around us, and above all, we are human. What resonates most with me about Jenna, and the show as a whole, is its genuine humanity. None of us are perfect, and all of us are deserving of the life we want to live, surrounded by the people we call family.

JHPENTERTAINMENT: Just between us…pie or cake?

SARAH AILI: PIE!! With berries and a little vanilla bean ice cream please! Throw in pecans and I’m a happy camper! Although, if we are talking about Guava Cake, that’s truly IT for me. Guava Cake above all else!

JHPENTERTAINMENT: A Soft Place to Land, which Jenna performs alongside Dawn and Becky, is among my personal favorites in the show. How much fun are you having with Annabelle Fox and Piper Jones, who play Dawn and Becky?

SARAH AILI: Piper Jones and Annabelle Fox are the icing on the cake for me in this show. I absolutely love sharing the stage with them, and we’ve had such a blast exploring these roles and relationships together. Offstage, it’s just as special. I genuinely look forward to spending time with these two amazing, talented people every day. Honestly, I feel that way about the entire cast!

Rapid Fire with Waitress co-star, Piper Jones

JHPENTERTAINMENT: What’s your favorite aspect of Becky, the character you play in Waitress?

PIPER JONES: I’ve really enjoyed getting to know Becky and finding the very human, relatable parts about her. She’s funny and real. She’s the friend who isn’t afraid to hold the mirror up to your face and call you in instead of out. I’ve loved playing against the “sassy” trope (don’t get me wrong, she’s still got the fire) and digging into her other layers.

JHPENTERTAINMENT: In Act 2, you get your solo chance to truly shine with I Didn’t Plan It. Having known you for years, I cannot wait for this moment. Have you been given the opportunity to offer input collaborating with Sarah Michele Bailey, the show’s musical director?

PIPER JONES: Sarah Bailey (SMB) is truly fantastic. It’s been a joy working with her on this show! We’ve gotten to see many iterations of each other— her as MD, me as MD, being in a cast together, singing in the studio. It’s always a blast to create with Sarah. Jenna, Dawn, and Becky sing several trio numbers together and SMB has given me the opportunity to sort of act as a bit of a vocal captain with the girls. I appreciate the vote of confidence and I’ve enjoyed getting to pull some vocal nuances out of our trio. I’m excited about I Didn’t Plan It, too. It’s definitely an in-your-face way to start Act 2.

JHPENTERTAINMENT: Within the context of the show, Jenna chooses Becky and Dawn to be godmothers to her daughter, Lulu (played by Rosemary ‘Roxy’ Delger. As an educator in your off-stage life, you’re used to working with kids, right? How has that aided you in your on-stage time with Roxy (and perhaps even some of your more childlike co-stars )?

PIPER JONES: I haven’t really had to wear my educator hat much during this process. You know, Roxy is already an old pro and my goodness she’s a cutie pie! Roxy is always on her mark (honestly, more than I am most of the time haha!).

JHPENTERTAINMENT: I saw on your Facebook that you, in another media moment promoting Waitress, cited your Mama’s Chess Pie as your all-time favorite. Heck, I think you and I might hold the record for most Chess Pie-related Facebook posts. So, a two-parter… 1) What is it about your Mama’s Chess Pie? AND…2) I think you might like my Mama’s Chess Pie, too, so when are we gonna trade recipes?

PIPER JONES: Ha! I do post about her Chess Pies a lot. It’s probably because she only makes the around the holidays, so it’s a special little treat that only comes around once a year. And honestly, I’m not even sure why I love her pies as much as I do. I know she’s particular about what brands of sugar (which must be a freshly opened bag), butter (you gotta buy the good stuff), and flour (which also must be freshly opened)…see what I did there? Anyway, I think her Chess Pie is the right balance of gooey sweetness, where you can kinda see that layer of sugar in the middle and the texture is always just right. Most of the time I can manage to sneak a piece right out of the oven (she hates that, though. They’re supposed to set up as they cool). But I mostly think I love them because of the nostalgia they hold. I bet your mama makes a great chess pie! And swapping recipes? You’d have to ask Dr. Jones if she’d part with hers 😉

JHPENTERTAINMENT: Oh, I see what you did there, and I italicized accordingly! Which leads perfectly to my final question for you…Waitess’ opening number, What’s Inside begins with the hypnotically repetitive mantra-like lyrics ‘Sugar, Butter, Flour’. In keeping with the recipe theme…what ‘ingredients’ make up What’s Inside you on your best days?

PIPER JONES: My best days are coffee, music, naps.

Rapid Fire with Waitress co-star, Annabelle Fox

JHPENTERTAINMENT: How familiar were you with Waitress prior to auditioning for the role of Dawn?

ANNABELLE FOX: I was lucky enough to see the original cast of Waitress on Broadway back in 2015! My friend impulsively bought us tickets and I didn’t know much about the show other than the fact that the music was written by Sara Bareilles. Sitting in the audience that evening, I realized then and there that Dawn would soon become a dream role of mine; one I would chase… until now.

JHPENTERTAINMENT: How would you describe Dawn?

ANNABELLE FOX: Dawn is particular, organized, controlled, and incredibly sweet. She is a little awkward but I think that’s what makes her so lovable!

JHPENTERTAINMENT: About midway through Act 1, you’re tasked with performing When He Sees Me, arguably one of the show’s most memorable musical moments. I love that it ranges from comedic to heartfelt. What’s it like performing this song and have you found a personal connection to the lyrics?

ANNABELLE FOX: Performing When He Sees Me is SUCH a gift. It is such a well written song and takes Dawn along with the audience on a beautiful journey of self discovery and assuredness. I love getting to embody her quirks, spunk, and dance with my wonderful cast mates! I loved the song instantly when I saw the show on Broadway and have sung the song in many concerts and for numerous auditions. I’m so excited to get to share my version of the song with Nashville!

JHPENTERTAINMENT: On the subject personal connections, among your cast mates is your real-life husband, Douglas Waterbury-Tieman who plays Dawn’s latest suitor, Ogie. Of course this isn’t the first time the two of you have shared the stage, having first met while you both were attending Belmont. What’s your favorite aspect of being on stage together?

ANNABELLE FOX: Getting to perform with Douglas is always so fun. The last time we performed together was in his original musical Johnny & the Devil’s Box at the Cumberland County Playhouse in December 2022. Playing opposite each other in a show we have loved for many years is a dream. The biggest advantage is our comfortability with each other. Ogie and Dawn are such heightened silly personalities so it’s super fun just being goofy with my husband! He is so wonderful and SO FUNNY so it’s quite the challenge to not break character!

JHPENTERTAINMENT: The show is choreographed by Joi Ware. How is Joi as a choreographer AND…What’s a typical choreo rehearsal been like?

ANNABELLE FOX: Joi is absolutely wonderful and the choreography in our production is so moving, story centric, and engaging. She has done such a wonderful job of bridging dance and transition and helping each moment flow seamlessly, backed by our incredible ensemble and leads. A typical choreo rehearsal looks like learning, Joi breaking down the choreography for us, workshopping the movement, figuring out spacing, running the choreography a few times, and then filming it to keep on file to go back to and review with. With such a quick rehearsal process this has been essential! The whole creative team has been so warm, supportive, and passionate during this process and I feel so grateful for the ways they have empowered our whole cast to rise up to tell the very best version of this story. Enjoy!

Rapid Fire with Waitress director, Lauren Shouse

JHPENTERTAINMENT: How did you come to direct Waitress for Nashville Rep?

LAUREN SHOUSE: This is the third show with baked goods I have directed for the Rep after Superior Donuts and The Cake, so clearly I love sweet plays. This musical had been on my list for some time as I love a heart-centered story and I am a huge Sara Bareillis fan, so when Micah-Shane Brewer told me they were programming it, I jumped at the opportunity. I have been so lucky to be able to call Nashville Rep an artistic home over the years – this is my 10th production with the company as director.

JHPENTERTAINMENT: What is it about the show that drew you to the project?

LAUREN SHOUSE: Besides being a fan of the music, I love to tell stories about women and transformation. This is a story about how we get unstuck and the resilience it takes to break a cycle and start a new life. There is a beautiful core of female friendship in this play and the way we need our fellow women to help us break free. While it is a musical comedy, I love the mess we see in this play and how authentic it feels to our real lives — when we feel stuck, we often make a bunch of hasty choices to shake things up. The characters in this play are no different and are driven by this core question of: what if I will never be more than what I have already become? I relate to that question at this point in my own life and I imagine many of our audience members will as well.

JHPENTERTAINMENT: The publicity photos seem very straight-forward and could easily be direct from the Broadway production. How have you found balance as a director in presenting the basics of what fans of the show expect, while putting your (and your talented cast’s) own stamp on it?

LAUREN SHOUSE: As someone who teaches directing students to always find their own unique point of view on a production, it is especially challenging when there is a wonderful pro-shot of the Broadway production that many people have recently seen. But from the beginning of this process, we talked about keeping some of the iconic moments that fans expect, but really making it our own intimate story. One of the things we have tried to do is deepen the backstory of Jenna and her mother – I wanted to add her to the song Soft Place to Land to show the story of where Jenna got her dreams and that she can be a good mother because she had a good mom, but she will need the support of her chosen family in Becky and Dawn to keep her going. We also wanted to lean more into the struggle of the waitresses’ everyday routine at the top of show — the women find refuge in each other, but not necessarily the work and the patrons. That way we see a real change in the final number as they have had to fight to make change. And in collaboration with our amazing choreographer Joi Ware, we have really tried to put our own stamp on the movement of the ensemble throughout the play and in the specifics of the big production numbers.

JHPENTERTAINMENT: When I chatted with members of your cast, I touched on their thoughts on working with some of the behind the scenes folks including your musical director and choreographer, so I’ll continue with another vital piece of the pie (pun fully intended). What sort of discussions did you have with scenic designer, Gary Hoff concerning the set design and overall look of the show?

LAUREN SHOUSE: We wanted it to feel intimate and in a bigger space like the Polk that really meant pulling the action as close to the audience as possible. We talked about how much we loved the style of the original Adrienne Shelly movie and used that for inspiration of making it feel like we are looking inside a cherry pie… extending the metaphor that Jenna hides in her baking and part of her journey is breaking through the crust to make peace with what’s inside. We wanted the band to be on stage as an expression of her inner self (similar to the ensemble) and we wanted the structure of the diner to always be there as it is such a fixture in Jenna’s life and ultimately transforms at the end as she does.

JHPENTERTAINMENT: I always like to end these conversations by asking a variation on the following…What do you hope audiences remember long after seeing Waitress at Nashville Rep?

LAUREN SHOUSE: That everything changes and we all have the power within ourselves to make that change. We all deserve a slice of that pie.

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Nashville Repertory Theatre’s Waitress continues at TPAC’s Polk Theatre with performances Thursday-Sunday. Thursday-Saturday evenings at 7:30p.m. & Saturday and Sunday matinees at 2p.m. CLICK HERE for tickets or more info.

Following Waitress, Nashville Rep’s 40th Anniversary Season continues with Our Town onstage at TPAC’s Johnson Theatre October 25-November 3 CLICK HERE for tickets. In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

Rapid Fire 20Q with playwright and cast of ‘Aunt Sally’s Wild Ride’; World Premiere presentation on stage at Playhouse 615 Friday, September 13 thru Sunday, September 29

September 13, 2024 by Jonathan

On Friday, September 13, up-and-coming Nashville-based playwright Robert Coles’ Aunt Sally’s Wild Ride will mark its World Premiere with three weeks of performances at Playhouse 615 under the direction of Joel Meriwether. Earlier this week as the company prepared for Opening Night, I had the opportunity to chat with the playwright and members of the cast for my latest Rapid Fire 20Q.

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Rapid Fire 20Q with playwright and cast members of Aunt Sally’s Wild Ride

Rapid Fire Q&A with Aunt Sally’s Wild Ride star Linda Speir

JHPENTERTAINMENT: How excited are you to be the first actress to play the role of Sally Shavers?

LINDA SPEIR: I’m very excited to be the first to play Aunt Sally. I have created this character from what others say about me as well as my actions and dialogue given to me by the playwright. Then I throw in a dash of Linda and I have Aunt Sally!

JHPENTERTAINMENT: Prior to chatting with you all, the playwright was kind enough to let me read the script to give me some idea of the characters. As I read, so many of the characters spoke to me, having been born and raised right here in Nashville. Is there anything about Aunt Sally that you found similar to any of your own relatives?

LINDA SPEIR: I love the characters in this play because I know some of them. I’m Southern to the core and so are these characters. Two of them remind me of some of my mother’s friends from church. Catherine reminds me a bit of my sister.

JHPENTERTAINMENT: What is your favorite Aunt Sally trait that you might consider incorporating into your own life?

LINDA SPEIR: I love that Aunt Sally is very forthright. I already have that trait. I wish I could be more like her in that, to an extent, she doesn’t care what others think. She’s living HER life.

JHPENTERTAINMENT: You know you’re my favorite regional actress to have played some of my favorite southern women, including Daisy Werthan (Driving Miss Daisy) and Clairee Belcher (Steel Magnolias). When you think about it, there are similarities in these two iconic character with Aunt Sally, but what I want to know is…What in your estimation, makes Aunt Sally different from these two?

LINDA SPEIR: Aunt Sally is similar in some respects to both Daisy and Clairee. Southern women have traits in common with other southern women though they may not be of the same class. Sally is different in that she is more flamboyant.

JHPENTERTAINMENT: I you could play any other character in Aunt Sally’s Wild Ride, who would it be and why?

LINDA SPEIR: I’d love to play either Rita Ruth or Tippy because they are so zany.

Rapid Fire Q&A with Aunt Sally’s Wild Ride co-star Jeremy James Carmichael

JHPENTERTAINMENT: Describe Jim Halpren in five words.

JEREMY JAMES CARMICHAEL: Like. So. Super. Good. Looking. Hahahahahaha

JHPENTERTAINMENT: Um…ok…moving on…As Jim, most of your scenes are with Amber Boyer as Jim’s wife, Penny Pennabaker-Halpren and Ann Street Cavanagh as Jim’s sister, Catherine McMahan. What’s it like having these two talented regional favorites as scene partners?

JEREMY JAMES CARMICHAEL: I love learning from the actors I get to work with; I’m not the same performer I was a year ago, and I won’t be the same next year. I’ve been lucky enough since moving to Nashville to work with some of the biggest names in the local theater business, and I’ve tried to watch and emulate as much as I can from them. I always say it’s never me acting in a show; it’s a combination of hundreds of directors and fellow actors who have poured into me.

JHPENTERTAINMENT: How much freedom has your director given you in making Jim your own?

JEREMY JAMES CARMICHAEL: I think we’ve all had a lot of freedom in creating these characters, particularly since we’re originating the roles. We use whatever the script provides and then color the characters in ways we think stays true to the text but allows us as artists to infuse our own ideas and personality.

JHPENTERTAINMENT: Playwright Robert Cole has written a script that presents a great balance between humor and heart. Without revealing any plot spoilers, do you have a favorite scene, whether funny, or sweet?

JEREMY JAMES CARMICHAEL: I absolutely have a favorite scene, but I can’t say anything about it. It’s near the end of act two between Jim’s wife (Amber Boyer) and his cousin Cat (Ann Street Kavanaugh). Just when you think it’s a comedy, it is not. It. Is. Not.

JHPENTERTAINMENT: Because it’s my website and I can do what I want, I’m going to go off-script for your last question….After Aunt Sally’s Wild Ride, when no on-stage, you’ve got a charity event your heading coming up…tell me about Scarfapolooza.

JEREMY JAMES CARMICHAEL: Thank you for this question!! My family started a charity event the night before Thanksgiving each year; we gather as many friends as we can to collect winter clothing items, and then hit the streets of Nashville to deliver to those living on the streets. It’s a fantastic way to be a blessing to others during a holiday of gratitude, and I honestly think those participating are more blessed than those receiving the gifts. It’s all about showing up for people and letting them know they matter.

Rapid Fire Q&A with Aunt Sally’s Wild Ride co-star Amber Boyer

JHPENTERTAINMENT: Ok, I have to start my conversation with you by telling you how excited I was when I saw that you’d been cast in this show! You never disappoint on stage. That said, who is Penny Pennabaker-Halpren to you?

AMBER BOYER: That’s incredibly sweet of you to say. Thank you! 🤗 To me, Penny is the quintessential misunderstood/underestimated character in this script. Everyone judges her simply because of how she dresses, without taking the time to actually get to know her. She’s spunky, friendly, loyal, loving, and a bit ditsy sometimes, but is unabashedly herself, and will give her brutal honesty when provoked.

JHPENTERTAINMENT: I love that Penny Pennabaker-Halpren insists on the full hyphenated name. Lord knows being from the south myself, I know my share of folks who gotta make sure you know who they are and who they come from. So…a completely nonsensical question…if you could go by any made up hyphenated name yourself, what would it be?

AMBER BOYER: Huh. . . I’ve never thought about that before. I honestly don’t have an answer.

JHPENTERTAINMENT: Penny Pennabaker-Halpren’s wardrobe choices are…interesting to say the least. Did you create your character’s look or does the show have a costumer that you worked with?

AMBER BOYER: We do have our wonderful costumer, Denese Evans, and it’s been kind of a collaborative effort between myself, the playwright, the director and customer. Penny is very sexy-tacky, if you can picture that.

JHPENTERTAINMENT: The script describes Penny Pennabaker-Halpren (YES, I’m going to honor her wishes and use her full hypenated name every time) as ‘ditsy’. Those that know you, even a little, know you’re anything but. How much fun are you having playing this character?

AMBER BOYER: I am having such a blast creating this character! Playing “the ditsy one” is always fun. I’ve admittedly been pulling personality traits from different TV characters and people I’ve met in my real life. There are deeper aspects to Penny than people care to see at first glance because of her clothes (or lack there of), and I’m really enjoying bringing some depth to the ditz, so to speak.

JHPENTERTAINMENT: As the story unfold, the audience finds out there’s more to Penny Pennabaker-Halpren that meets the eye. Is that part of the reason you chose to take on this role?

AMBER BOYER: I honestly hadn’t even read the full script until we received them at our first read-thru, so I was pleasantly surprised to see the character arc that she has in Act II. I accepted the role because I really do enjoy performing comedic shows, and the opportunity to bring a brand new script to life was too tempting to pass up (even if I am “scantily clad” at 41! 🤣)

Rapid Fire Q&A with Aunt Sally’s Wild Ride playwright Robert Coles

JHPENTERTAINMENT: First off, thank you, not only for taking the time to do this Q&A, but also for allowing me a sneak peek at the script in order to familiarize myself with the story and characters in preparation for these conversations with you and your cast. I couldn’t help but notice some seemingly obvious (to me anyway) nods to everything from Robert Harling’s Steel Magnolias to Del Shores’ Daddy’s Dying Who’s Got the Will and Sordid Lives. Where those nods conscious or subconscious?

ROBERT COLES: Absolutely! It’s always a pleasure to do these Q&As! I will always have a spot in my heart for Steel Magnolias. It was the first movie I saw in theaters when I was two (my babysitter canceled and my parents had to take me with them), and I’ve directed the show three times. I love strong female characters, so there are probably some nods in the script, though subconscious. As for Del Shores’ scripts, I’ll confess, I didn’t start reading his material until I was in Sordid Lives this past summer, but now I’m a huge fan. This script was written (at least the first draft) four years ago.

JHPENTERTAINMENT: In the same vein, who are some of your favorite playwrights?

ROBERT COLES: That’s a good question! I’m currently loving the works of Isaac Byrne, who I’m also involved in Writer’s Block with. Writer’s Block is a playwriting creative group lead by the amazing Haley Rice, who was in a workshop of one of my other plays in New York City . I’m also a huge fan of Tennessee Williams. Cat on A Hot Tin Roof is probably one of my favorite scripts, and a bucket list production for me both as a director, and as an actor. Neil Simon will always be one of my writing heroes, and I’ll always have a love of anything by John Patrick (A Bad Year for Tomatoes, The Curious Savage, et al).

JHPENTERTAINMENT: The story takes place in a spacious Belle Meade mansion, one of the Nashville area’s most affluent neighborhoods. In contrast, the venue chosen for the World Premiere presentation, Playhouse 615 is one of the more intimate theatre spaces in Nashville. Who’s your set director and how have they met the spacial challenge?

ROBERT COLES: To me, when trusting this production with a theatre company, Playhouse 615 was my first and only choice. I knew I wanted to try it in an intimate venue and the work they do is absolutely brilliant. They use the space so cleverly. The set designer, James Bealor, has done an amazing job at using every square inch of available space while still giving levels and building the grandeur of this estate. Eric Crawford and Abby Waddoups are a powerhouse set decorator and set painter team, and their work has blown me away. A special note about this set, Joel Meriwether, the director, allowed me to inject my family into the show. After all, this show IS my family. Aunt Sally is based on my grandmother, Catherine is my mom, Liam is me, and the rest of the characters are people I know and grew up with. So, they let me put my own family photos on the set, which has made this feel like a big family affair for me.

JHPENTERTAINMENT: As you mention, Playhouse 615 co-founder, Joel Meriwether is directing. What is it about Joel’s directing style that has instilled confidence that he’ll handle your work with care?

ROBERT COLES: I love Joel and his work. He’s such a talented person and director, and he has a great ability to make brilliant casting choices and pull strong performances out of each of his actors. Additionally, Joel knows these characters. He went to Lipscomb, has lived in Nashville for years, and was so protective over my script and words throughout the whole process.

JHPENTERTAINMENT: What do you hope audiences will take away after seeing this debut production of Aunt Sally’s Wild Ride? AND..what’s next for the show?

ROBERT COLES: I hope audiences will laugh and think. The show is funny, but it also deals with some pretty heavy themes. I hope audiences leave feeling the love of this family, my family. Next for this show, some minor rewrites, a possible new title, and licensing worldwide! I can speak too much on the licensing yet, but I’m very excited to see the future for this little project!

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At the time these conversations were uploaded to JHPEntertainment.com, Opening Weekend of Aunt Sally’s Wild Ride is completely SOLD OUT, but there are still tickets available for the remainder of the run September 20-29. Tickets are $20 ($17 for Seniors and Military). CLICK HERE to purchase tickets. To keep up with what’s next for Aunt Sally’s Wild Ride, CLICK HERE to follow the show’s Facebook page.

Following Aunt Sally’s Wild Ride, Playhouse615 will present Dracula: A Comedy of Terrors just in time for the Halloween holiday with performances October 18-November 3. CLICK HERE for tickets or more information.

For more on the show and to keep up with what’s next at Playhouse 615, check out their website or follow them on Facebook.

Rapid Fire 20Q with cast, producer and director of ‘An Ideal Husband’; on stage at Nicky’s Coal Fired August 17-21 to benefit CASA Nashville

August 17, 2024 by Jonathan

I’ve been a fan of 19th century novelist, playwright and bon vivant, Oscar Wilde since friends first started making jokes about a certain dilapidating portrait in my attic (if you know the reference, we can be friends), so when I heard that up-and-coming Nashville theaterati Erin Grace Bailey and Evan Fenne were teaming to present an immersive performance of Wilde’s political scandal satire, An Ideal Husband, I knew I’d need to chat with them and some of their cast for the latest installment of my recurring interview feature, Rapid Fire 20Q. When I learned this presentation was being presented FREE, but with a suggestion of donating to CASA Nashville—Court Appointed Special Advocates, who serve abused and neglected children in the foster care system—theatre for a cause…come on! I was all in. What follow are those conversations.

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF OSCAR WILDE’s AN IDEAL HUSBAND

RAPID FIRE WITH AN IDEAL HUSBAND’s SIR ROBERT CHILTERN, ANDREW GATELEY

JHPENTERTAINMENT: What can you tell me about Sir Robert Chiltern?

ANDREW GATELEY: Sir Robert is a politician who ends up making a poor decision in his career that almost costs him his marriage. A marriage that he does not want to loose because he truly does love his wife. He’s a good guy with a good heart, and his poor decision gives him this layer of humanity which is what draws me to the character.

JHPENTERTAINMENT: Last year you appeared in Playhouse 615’s The Glass Menagerie as the gentleman caller of Erin Grace Bailey’s Laura Wingfield and now you’re playing brother and sister in An Ideal Husband. What’s your favorite aspect of Erin Grace as a scene partner?

ANDREW GATELEY: Her commitment to the character. She really puts her all into her performance and the character. Finding these little things to include to enhance the character and make them more believable.

JHPENTERTAINMENT: You’re also sharing the stage with Emily Colquette as your on-stage wife, Lady Gertrude Chiltern. Have you worked with Emily previously? AND How much are you enjoying being ‘married’ to her?

ANDREW GATELEY: I have worked with her before! She’s absolutely wonderful! Getting to be her on-stage husband has really been quite the treat, as she is one of the sweetest and kindest people I know.

JHPENTERTAINMENT: There’s a scandalous secret surrounding Sir Robert. In fact the show’s title comes from a key scene during which that secret is revealed. What’s the most challenging aspect of playing an emotionally fueled scene like this?

ANDREW GATELEY: Holding the intensity. It can be quite challenging to do an emotional scene and keep that same level of intensity throughout the whole scene. Plus, with it being such an important part of the story I feel it’s more important than ever to keep audiences locked in and be true to the character.

JHPENTERTAINMENT: Regardless of whether you’re ‘the type’ or not, what other roe in An Ideal Husband might you one day like to play, and why?

ANDREW GATELEY: Lord Goring. I actually thought I was going to get Lord Goring when I auditioned. So, imagine my surprise when they offered me Sir Robert instead! Lord Goring just seems like such a fun character to play. He’s so carefree yet such a great friend.

RAPID FIRE WITH AN IDEAL HUSBAND’s LADY CAVERSHAM, ANN STREET-KAVANAGH

JHPENTERTAINMENT: Being a fan of the work, it took me just a minute when perusing the cast list to realize that liberties were taken in your character, Lady Caversham. For in the original presentation of An Ideal Husband, and dare I say, every production in the past 129 years, the role of Caversham has been played by a man, as it was originally The Earl of Caversham, not Lady Caversham. Did your producer or director address their reason behind the character gender flip with you?

ANN STREET-KAVANAGH: I had no idea going in. They mentioned that it had been written for a man, but I don’t recall a reason for flipping it. It has been fun, though, saying things that a woman, perhaps, would not have said in the late 1800’s. Since she’s speaking mainly with her son, it adds a playfulness and I feel like they adore each other and enjoy each other’s company. Some of the lines would probably be taken much more harshly if delivered by a father.

JHPENTERTAINMENT: You’re playing the mother of Lord Goring, as played by Abe Gibson. What can you tell me about Abe and sharing the stage with him?

ANN STREET-KAVANAGH: I’d only met Abe during this rehearsal process. He brings a wonderful energy and playfulness to his character! He’s been quite fun to work with as a scene partner.

JHPENTERTAINMENT: Oscar Wilde’s An Ideal Husband is typically presented as a period piece. For this immersive presentation, is it still set in the 1890s, or have liberties been taken there as well?

ANN STREET-KAVANAGH: The show is still set in the 1890’s. It doesn’t matter which year it is set in, it has a sharp wit and contemporary subject matter.

JHPENTERTAINMENT: My personal favorite adaptation of An Ideal Husband is the 1947 film starring Michael Wilding, Paulette Goddard, Glynis Johns and C. Aubrey Smith as the Earl of Caversham. Of course there’s an equally star-studded more modern 1999 adaptation which starred Rupert Everett, Cate Blanchett, Minnie Driver and Julianne Moore. How familiar were you with the piece prior to auditioning?

ANN STREET-KAVANAGH: I wasn’t really familiar with it at all, other than a few trailers. It has been great fun delving in with no preconceived ideas!

JHPENTERTAINMENT: An Ideal Husband deals with scandal, politics, blackmail, public perception vs. private realities…all as timely now as when the play was written. What drew you to the project?

ANN STREET-KAVANAGH: Honestly, Erin-Grace approached me and asked if I’d play the role. I did not know much about the play. I just adore her, and when she told me the details, it sounded very interesting. To not be in a traditional theatre space and have a chance to work with so many young actors, I couldn’t resist! They are all quite impressive actors. The relatability to current times was just the frosting on the cake!

RAPID FIRE WITH ERIN GRACE BAILEY, PRODUCER AND CO-STAR OF AN IDEAL HUSBAND

JHPENTERTAINMENT: This production of An Ideal Husband is being described as an immersive experience. Can you elaborate?

ERIN GRACE BAILEY: Well, a good part of the show takes place at a party, so we wanted the audience to feel like they’re part of that. For anyone who sees the word “immersive” and feels a little triggered by it, I would definitely tell them not to worry. We’re not asking the audience to do anything out of the ordinary, but the actors may come sit at your table. They may loop you into a conversation or make sly comments. Sort of think of it like Disney World for big fans of British period pieces, almost like you got to step into an episode of Bridgerton for a day.

JHPENTERTAINMENT: You’re not only producing, but also co-starring in the role of Miss Mabel Chiltern. Not only that, the fabulous production of Sordid Lives you directed just closed. In that multi-tasking spirit, a two-part question for you…Are you running on adrenaline at this point? AND How are you balancing producing with acting in this production?

ERIN GRACE BAILEY: Haha! I’m running off adrenaline and a whole lot of love and support from the Nashville theatre community, which I am so incredibly grateful for. Evan makes my job as a producer very easy. He knows what he wants, and he communicates that clearly. Really, the most challenging part was finding a place to perform (which we’re so appreciative of Nicky’s for giving us the opportunity). Once that happened, the rest of it was pretty straightforward.

As far as the acting side of things goes, I adore Oscar Wilde, and I am so excited to bring my version of her to life. It’s actually been a nice balance. Mabel isn’t a huge role; she’s just such a memorable one. It’s sort of a full-circle moment because I auditioned with one of her monologues for the theatre program at Belmont. Seven years later, I’m playing the role in my own production and working for the Theatre and Dance department full time, and I sort of wish I could go back and pat myself on the head back then and let my eighteen year old self know that it’s all going to work out.

JHPENTERTAINMENT: An Ideal Husband debuted on the stage in 1895. Now here we nearly 130 years ago yet the themes and scenarios seem just as prevalent today. Of the themes, do you have one that you are most interested in highlighting within the context of the show?

ERIN GRACE BAILEY: Oh gosh, I’m going to try to keep this answer short, but I could completely nerd-out on it. I’ve been reading thesis papers and all sorts of other things on this play. In summation, Oscar Wilde really wrote this play to make a statement on the cultural shift that started around the turn-of-the-century. The Victorian generations had this sort of choke-hold on certain values, views, and this black and white sense of morality. But as 1900 drew closer, younger generations, particularly young women, started to question these values, it caused a lot of societal and political turmoil but resulted in women’s suffrage and the formation of more ethical labor laws. Wilde simplified this in An Ideal Husband to only concern the household of one particular politician who finds himself in a “gray area” or morality which was essentially unacceptable according to Victorian values. With our current political climate, its extremes, and my generation sort of coming into adulthood and questioning everything, I think this play is particularly timely. Oscar Wilde just puts it in a way that’s palatable, comedic, and relatable no matter who you are.

JHPENTERTAINMENT: What is your favorite aspect of playing Mabel Chiltern?

ERIN GRACE BAILEY: She’s just everything I wish I could be all the time. She’s boisterous, silly, smart, romantic, and not to mention, incredibly witty. She doesn’t take anything too seriously, and she’s just her own beautiful person in spite of what anyone thinks about her.

JHPENTERTAINMENT: I’m about to wrap this edition of Rapid Fire 20Q by chatting with your director, Evan Fenne. How long have you known each other and what is it about An Ideal Husband that presented the perfect opportunity for him to direct and you to produce?

ERIN GRACE BAILEY: In the grand scheme of things, we really haven’t known each other that long (a little over a year maybe?), which feels unreal to think about because we’ve been through so much together in that little bit of time. He assistant directed me in a show at Actors’ Bridge and then assistant directed for me back last fall. Then, this fall, we’ll actually be acting alongside each other as well, which will be a good time. Aside from being a great artist with tremendous instincts, Evan is just a kind person, which is always the first thing I tell anyone about him. We just work well together and decided we wanted to do a project for fun. We read, like, every staple British comedy play you can think of and finally settled on this one because of its message and timeliness.

RAPID FIRE WITH AN IDEAL HUSBAND DIRECTOR, EVAN FENNE

JHPENTERTAINMENT: How did the idea of presenting Oscar Wilde’s An Ideal Husband come about?

EVAN FENNE: Erin Grace Bailey and I were looking into British farces from that era to put up, and after reading An Ideal Husband, I was amazed by its relevance. A lot of plays are able to have sustaining themes that relate more to the individual human experience, but this one also has themes that apply to social and cultural aspects of our society, a society that at first glance seems completely different from that of Oscar Wilde’s time. All of that being combined with Wilde’s sarcastic and dry humor, which I love, made this play one I wanted to direct and see happen.

JHPENTERTAINMENT: Oscar Wilde has always been a favorite of mine, both on the page and in his real life. What was your first introduction to Wilde?

EVAN FENNE: Like most, my first introduction to Oscar Wilde was reading The Importance of Being Ernest in eighth grade. It was one of the few things we read that I actually loved a ton. I then saw it produced at a high school close to mine, and I remember the audience experience of that performance being so much fun. It wasn’t until a couple years ago that I actually learned about him and what he was like as a person. It only made me admire and enjoy him more.

JHPENTERTAINMENT: As mentioned above, you’ve teamed with Erin Grace Bailey, who’s not only producing, but also co-starring. When I spoke with her, I asked her about your working relationship, so I’ll ask you similarly…I understand you and Erin haven’t known each other that long. How did you meet and how is she as a producer?

EVAN FENNE: Though we both went to Belmont University, we first met a year ago when I assistant directed a play that she was in, and soon after, I assistant directed a play under her direction. The show was a serious drama, and towards the end, we talked about how we would love to work together again on something lighter: a comedy. She’s been a great producer, even with her stacked summer of shows, and as a young director, it’s been wonderful to have her support and encouragement.

JHPENTERTAINMENT: I love that instead of selling tickets, this production of An Ideal Husband is being presented as a free theatrical experience with the suggestion of donations to CASA. Can you tell me a bit about CASA and the decision to use this production as a means of raising money for this worthwhile organization?

EVAN FENNE: I only recently learned about CASA, and their mission immediately caught my attention and support. They train volunteers to be court-appointed advocates for abused and neglected children in the Davidson County area. We knew we wanted to raise money for a charity in the process of putting up this show, and CASA is a cause that I especially want to support. There’s nothing more valuable to a child than a safe and loving home, and the more we can do to help make that happen, the better.

JHPENTERTAINMENT: What do you hope audiences come away remembering after seeing An Ideal Husband?

EVAN FENNE: I really want audiences to see themselves in the characters of this show; I want them to see people from their own lives. I directed it in a way that acknowledges the audience, and I hope their immersion in that world ends up leaving them surprised at how easy it is to empathize with each character. I know I was when I first read it.

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An Ideal Husband directed by Evan Fenne and produced by Erin Grace Bailey will be presented on stage at The Maxwell Room of Nicky’s Coal Fired (5026 Centennial Blvd. Nashville, TN 37209) for five consecutive days from Saturday, August 17 until Wednesday, August 21. Aug. 17 & 18 performances will begin at 1:30p.m. with Aug. 19-21 performances beginning at 7p.m. CLICK HERE for FREE tickets. Can’t make the show but still want to donate to CASA? CLICK HERE!

RAPID FIRE Q&A WITH DIRECTOR AND CAST OF THE OTHER ME THEATER COMPANY’S PRESENTATION OF CORMAC McCARTHY’s ‘THE SUNSET LIMITED’; AT PLAYHOUSE 615 AUGUST 15 THRU 18

August 14, 2024 by Jonathan

On Thursday, August 15, The Other Me Theater Company will present the Middle Tennessee premiere of Cormac McCarthy’s The Sunset Limited on stage at Playhouse 615. While McCarthy might be best known for having authored such novels as All The Pretty Horses, Child of God, No Country for Old Men and more, 2006’s The Sunset Limited is one of only two plays by the prolific author. In 2011, HBO presented a teleplay of the piece starring Samuel L. Jackson and Tommy Lee Jones. Jones also executive-produced and directed.

The dialogue-driven drama features two actors, simply referred to as “Black” and “White”, a reference to their respective races. Just prior to the action on-stage, the two men meet by chance during a dramatic incident on the platform of The Sunset Limited, a passenger train that travels from New Orleans to Los Angeles. As the play begins, the two men are at Black’s apartment where they discuss everything from life and death to faith and fate.

Earlier this week, I had the opportunity to chat with The Sunset Limited’s director, Anastasia Zavaro as well as the show’s stars, Elliott Robinson and Bowd Beal for the latest installment in my recurring interview feature, Rapid Fire Q&A. What follows are those conversations.

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RAPID FIRE Q&A WITH CAST AND DIRECTOR OF THE OTHER ME THEATER COMPANY’s THE SUNSET LIMITED

RAPID FIRE WITH THE SUNSET LIMITED’s CAST MEMBER, ELLIOTT WINSTON ROBINSON

JHPENTERTAINMENT: What drew you to the role of Black in The Sunset Limited?

ELLIOTT WINSTON ROBINSON: The challenge of the two-man show, of course, and also playing a real evangelist! I consider myself a believer, but most of my spirituality is played inward. I try to love and respect people along my journey as Jesus Christ would, but I will admit that I am lacking when it comes to the mandate to be a “fisher for people.” I told my Pastor to be sure to attend this show, because he may never hear me talk like this in real life!

JHPENTERTAINMENT: While The Sunset Limited originally debuted onstage in Chicago, then New York, The Other Me’s production marks the Middle Tennessee debut of this Cormac McCarthy play. What’s it like knowing your interpretation of the character will the the primary introduction to the piece for many audience members?

ELLIOTT WINSTON ROBINSON: Regional debut – that’s pretty cool! And then, knowing that in the filmed version my character was played by Samuel L. Jackson? No pressure, right? I think it’s great that The Other Me chose this play; and I’m honored to be involved in their inaugural presentation. This script is an amazing conversation, one that will most definitely leave people talking. You might even have a little conversation with yourself about your own spiritual journey…

JHPENTERTAINMENT: What do you think is among the most important lessons to be learned from The Sunset Limited?

ELLIOTT WINSTON ROBINSON: It is dangerous for people to put too much of their trust – their FAITH – in things. Surely, as my counterpart clearly states, there is value in things, but he has lost sight of the most valuable things. Black would probably say that the most valuable things are our relationship with the Creator, and also the relationships we have as “fellow travelers,” and the responsibility we have to look out for our fellow man and woman. We are our brothers’ and sisters’ keepers.

RAPID FIRE WITH THE SUNSET LIMITED’s CAST MEMBER, BOWD BEAL

JHPENTERTAINMENT: What is it about White, the role you play in The Sunset Limited, that speaks to you as an actor?

BOWD BEAL: The interesting thing about White to me was that the role didn’t speak to me in the general sense that I knew who this guy was. I knew he existed somewhere inside of me as does every role, you just have to do the work to find it. I knew it would be a difficult journey and that the only person I trusted enough to not let me get away with phoning in a performance was our amazing Director Anastasia Zavaro. We have collaborated on several projects over out 20 year friendship and she always makes me better.

JHPENTERTAINMENT: In preparation to chat with you, you co-star and your director, I revisited the 2011 HBO presentation. I was immediately struck by the intimacy of it being a two-person show. To that end, it’s a dialogue-driven piece. What’s the most challenging aspect of performing in a show that’s focuses so much on the spoken word?

BOWD BEAL: Being interesting. If we are interesting the audience will be interested. If we live truthfully in these circumstances, it should give the audience a chance to feel a little bit like voyeurs. They should feel like the proverbial fly on the wall so to speak.

JHPENTERTAINMENT: When I chatted with Elliott, I noted that this production marks the Middle Tennessee premiere production of this piece. It’s also the latest production from The Other Me Theater Company. I recall The Other Me having presented Light Sensitive and Doubles a few years back. Does The Sunset Limited mark a resurgence in the company? AND…What’s can you tell me about the company and what’s next?

BOWD BEAL: Yes, we are trying to resurrect The Other Me, a thought provoking theater experience. While Jaymes Campbell and Anastasia Zavaro are not on the current board, they are both vastly important to its past and future success. We hope to announce out next show in the next week or so and it will be going up early to mid November.

RAPID FIRE WITH THE SUNSET LIMITED’s DIRECTOR, ANASTASIA ZAVARO

JHPENTERTAINMENT: I just spoke with your two stars. I know you’ve worked with Bowd both as his director in 2010’s Doubles and his co-star in 2009’s Light Sensitive, but have your worked with Elliott previously? AND…Why are Elliott and Bowd perfectly cast as the two characters in The Sunset Limited?

ANASTASIA ZAVARO: Bowd and I have worked together on many projects in Los Angeles where we met attending The Howard Fine Acting Studio over 20 years ago. When I picked up and moved to Nashville to be closer to my family, Bowd was interested in seeing one of my shows I was acting in at The Darkhorse Theater. Since he worked for the airlines he could fly out complimentary. He fell in love with Nashville and moved here not long after. Our history of acting, producing, directing, starting a theatre company together etc. is very deep rooted. We speak the same language when it comes to acting. Therefore when Bowd is involved in a project I have no hesitation to jump on board. I know the quality and joy and artistic view will be an amazing adventure. We work together as a team to collaborate and make each other better at the assigned task. He is an excellent actor and dear friend. I trust him to bring the character of White to become a real human with depth and truth.

Elliot and I have worked together years ago on a staged reading. I recognized immediately that he has a charisma and genuine ability to make something on a page form a soul and become a life. I have always wanted the opportunity to work with Elliot again. Luckily he has made Black multifaceted as soon as day one of rehearsals. His receptive nature allows him to breathe and grow as rehearsals move forward. He has an intuitive nature and has adapted to my style of directing like we have worked together for years.

Bowd and Elliot are perfectly cast in The Sunset Limited because of their adaptive nature. This is a journey between director and actors that is a true collaborative. During rehearsals we have all questioned, discovered, experimented and grown together. It makes my job as a director much easier when the actors are willing to push their own limitations and do the homework. I will never be a puppet master. We are a team that is here to tell a story and make it leap off the written page.

JHPENTERTAINMENT: When I chatted with Bowd, I noted that this is very much a dialogue-driven piece. Two actors, one set, and it’s mostly conversational with little physical action. As a director, what challenges did that present and how have you approached those challenges?

ANASTASIA ZAVARO: It is a real challenge when we don’t have a lot of physical action to drive the scene. In order to overcome this obstacle we have to do so much character work in order to flesh out real human behavior. If you are interested in what you are talking about then you are interesting to watch. I question Bowd and Elliot constantly in the rehearsal process. Everything they say must be so specific for the scenes to be real. My favorite part of directing is character development. I encourage the actors to do all the in depth homework and then try different tactics in rehearsals, just like in real life. Once we are in the final dress rehearsal I must encourage them to trust that the homework is done and go out and have a real brand new experience every moment. If they are working properly and living truthfully, they will be organic and the audience will be involved no matter what they are doing physically, be it large or small.

JHPENTERTAINMENT: This production is being presented at Playhouse 615, one of the Nashville area’s more intimate venues. How do you think the intimacy of the space enhances the drama and energy of the piece?

ANASTASIA ZAVARO: This is a profound piece that does not need any distractions of set changes or large spaces. Cormac McCarthy, the playwright, has written The Sunset Limited to be in such a small confined space. I think this serves the material to be about the dialogue. Playhouse 615 provides such an intimacy that goes hand in hand with the conversations, the questions asked, the debates, the caged feelings. The audience will feel like they are right inside Black”s apartment and want to jump into the debate themselves.

JHPENTERTAINMENT: What do you hope audiences take with them after experiencing this production of The Sunset Limited?

ANASTASIA ZAVARO: I want the audience to leave wondering what parts of Black and White they identify with and at what moment they shifted back and forth. I want the audience to leave the theatre and exit with conversations about life and death, hope and despair, differences of opinions and how to coexist. I want everyone to have an experience that they just witnessed a real tug of war and how it evoked their emotional psyche.

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The Other Me Theater Company’s production of The Sunset Limited at Playhouse 615 (11920 Lebanon Rd, Mt. Juliet, TN 37122) begins it’s limited four-day run Thursday, August 15, continuing thru Sunday, August 18, with 7p.m. performances Thursday thru Saturday and matinee performances Saturday and Sunday at 2p.m. CLICK HERE for tickets. All tickets are $15. (When purchasing tickets you will also have the opportunity to make an optional tax deductible donation to the company to help fund future projects). As The Other Me Theater Company reemerges, be sure to check them out online and follow them on Facebook for information about upcoming auditions and performances.

Rapid Fire 20Q with cast members of ‘Footloose: The Musical’; onstage at The Keeton beginning August 9

August 9, 2024 by Jonathan

Some 25 years after its Broadway debut, and 40 years after the source material’s film premiere, The Keeton Theatre (108 Donelson Pike, Nashville, TN 37214) is ready to cut loose as they present Footloose: The Musical. Just days before their Friday, August 9 opening, I recently had the chance to chat with the show’s stars Konnor Dolberry and Bryli Evans, who play Ren McCormack and Ariel Moore, as well as Kevin Driver (The Reverend Moore) and Laura Amond (Ethel McCormack) for my latest Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH CAST OF THE KEETON DINNER THEATRE’S FOOTLOOSE: THE MUSICAL

RAPID FIRE WITH FOOTLOOSE’s REN McCORMACK, KONNOR DOLBERRY

JHPENTERTAINMENT: I understand getting the chance to perform in Footloose on stage has been a longtime coming, as you were to have played Ren McCormack in your high school production back in 2020, but the world had other plans. How excited are you to be getting the chance now?

KONNOR DOLBERRY: It’s literally a dream come true. Ever since I was cast for this role the first time, I felt a real connection to the character, and it almost became a part of me after it was cancelled. Now finally getting to revisit it 4 years later, It’s allowed me to see the whole story through a different lens, and I think it was definitely worth the wait!

JHPENTERTAINMENT: Not only will this be your debut as Ren, it’s also your debut with The Keeton, the only dinner theatre in the Nashville area. What’s your Keeton experience been like thus far?

KONNOR DOLBERRY: The Keeton has been nothing but welcoming throughout this whole process. Those who have been around the Keeton for a while have really brought me into the family!

JHPENTERTAINMENT: Who is Ren McCormack to you?

KONNOR DOLBERRY: Ren is a High School kid who is wildly misunderstood by just about everyone except for his Mom Ethel, his best friend Willard, and his new girlfriend Ariel. He’s charming, witty, and doesn’t care about what anyone thinks of him, but after his Dad left and he was forced to move from Chicago to Bomont, it leaves him wounded in ways that are revealed to him throughout the show.

JHPENTERTAINMENT: Roger Hutson serves as Music Director for The Keeton’s Footloose. A musician yourself, how has it been working with him in this capacity?

KONNOR DOLBERRY: It has been wonderful working with Roger! He always brings the jokes to rehearsals which is always fun, and he is always willing to go the extra mile to help you with parts!

JHPENTERTAINMENT: As alluded above, when not pursuing your acting career, you’re frequently onstage in another capacity, as frontman for The Band Light. What similarities do you find between these two seemingly different styles of performing?

KONNOR DOLBERRY: Theatre has always been at the heart of what I do with The Band Light, as we all met through our high school’s theatre program. It’s a defining part of who we each are as individuals, and as a band. Any time I step out on stage, my number one goal is to entertain the audience, but when performing in a musical, It allows me to completely escape into this other world, and get to express myself in a new way. It has been almost 2 years since I have done Theatre in any capacity, so this show has definitely reminded me of my love for it!

RAPID FIRE WITH FOOTLOOSE’s ARIEL MOORE, BRYLI EVANS

JHPENTERTAINMENT: You play Ariel Moore in The Keeton’s Footloose. How are you most like the character you’re playing?

BRYLI EVANS: Ariel is very headstrong and independent and I would like to think I share those qualities with her. I feel like as soon as I was cast, I could instantly relate to her in many ways, but those are the two biggest similarities.

JHPENTERTAINMENT: On the flip, what is it about Ariel’s persona that is farthest away from your own personality?

BRYLI EVANS: There’s a song in the show called The Girl Get’s Around… which I would think is pretty self explanatory. To keep it simple, this girl doesn’t really get around.

JHPENTERTAINMENT: Anyone who’s seen the original Kevin Bacon/Lori Singer film or the musical adaptation knows there’s plenty of choreo. I mean it IS the story of a small town that outlawed dancing and the kid who challenges that. To that end, Heidi Buyck is the show’s choreographer. How has it been to work with Heidi and what’s your favorite choreo moment in the show, whether it be your own, or that of your co-stars?

BRYLI EVANS: I cannot even begin to explain how incredible Heidi is – she is a GENIUS!! Working with her has been a dream come true. She has been so patient with me (I’m really not much of a dancer) and has pushed me to be the best version of my character in a way that no one has ever really pushed me before. I absolutely adore her. And the choreography in Let’s Hear it for the Boy HAS to be my favorite!

JHPENTERTAINMENT: Ariel’s best friends are Rusty, Wendy Jo and Urleen, played by T-Cat Ledo, Julia Mowry and Abby Webb respectively. Can you give me one word each to describe these besties?

BRYLI EVANS: It’s so hard to just pick one word for each of them, I feel like I could write three whole paragraphs on how incredible they are. Julia has one of the kindest hearts I’ve ever known, Abby was an instant friend to me and has done nothing but make me smile during every interaction we’ve ever had, and T-Cat has this electric energy that you can’t help but gravitate towards. I have had the BEST time working with these wildly talented ladies!!

RAPID FIRE WITH FOOTLOOSE’s REVEREND MOORE, KEVIN DRIVER

JHPENTERTAINMENT: Who is the Reverend Moore to you?

KEVIN DRIVER: Reverend Moore is the minister of the church most of the residents of the small town of Bomont attend. I think Moore’s caring boundaries are extensive, but they center around his family. He’s overly protective of his remaining child. He would like to keep her in bubble wrap if he could to keep her safe. Ultimately, he knows he can’t control everything she does, so he is worried all the time.

JHPENTERTAINMENT: Keeton patron’s no doubt know you not only for recent on-stage roles in recent productions of Memphis, Songwriter Night and Evita, but also for having designed and built each and every set for the past three Keeton seasons. In fact, in addition to playing Reverend Moore, you’re also tasked with the behind-the-scenes gig of the show’s Technical Director. For the uninitiated, what all does that job entail?

KEVIN DRIVER: My goal is to make sure the director’s vision is met with regards to the set design and build to the best of my ability and stay in budget. I help the stage managers with organization backstage so that they can run the smoothest show possible. I also work closely with the lighting and sound designers to make sure they have what they need. I try to prioritize the set at the very beginning of the rehearsal period to get it built and usable as soon as possible. Being an actor in this show, I want to give both my roles as Technical Director and actor all of my attention, so I try to focus more on the technical end at the beginning so I can flip the switch and put my focus on my acting. It’s difficult to schedule it all, especially because I have a full-time job during the weekdays, and it’s why I don’t perform in the shows that often.

JHPENTERTAINMENT: Another little fun BTS bit of info…as Reverend Moore, you’re leading lady, Vi Moore is being played by your real-life leading lady, your wife, Donna Driver who’s also Keeton’s Managing Administrator. What’s the advantage of playing opposite your wife?

KEVIN DRIVER: Being the real-life husband of the woman who plays my wife on stage does have a lot of benefits. We can rehearse on our own time and work on our scenes. I can tap into her acting knowledge and advice. In the scenes, my acting choices feel more genuine instead of staged. We’ve also raised our three combined daughters through their teenage years into adulthood. Discussions about their behavior and choices aren’t new to us, so we are able to tap into those memories and feelings.

JHPENTERTAINMENT: The Reverend is pegged as the show’s antagonist. Heck, did you know the character even has his own entry on Villains Wiki? Convince me he’s NOT the villain of the piece?

KEVIN DRIVER: I don’t believe you can be a villain if you have good intentions behind your actions. The whole town suffered after the Potawney Bridge accident that killed four teens, including his son. Reverend Moore strove to help everyone and himself through the grieving by trying to prevent this kind of pain from happening again. He’s convinced that dancing leads to dangerous behaviors, and the adults of the town agree with him. He’s holding too tightly to his pain and has to learn, through Ren and his daughter Ariel, to change and grow. Yes, he’s an antagonist for Ren, but he’s not a villain.

JHPENTERTAINMENT: I’m guessing you were familiar with the source material. Now, fast-forward 40 years since the film’s debut and you’re father to two daughters yourself. Has your personal perception of the Reverend changed since first viewing the film back in 1984.

KEVIN DRIVER: When the movie came out, I was twenty years old. I grew up here in Tennessee, so the setting of a small rural town was familiar to me. I definitely sided more with Ren, the teens, and their rebellious need to find fun things to do. Now, forty years later, I am more able to see Reverend Moore’s side of the story better. As I mentioned, I have two daughters and have raised my step-daughter most of her life. Sometimes their choices have made me angry, frustrated, or scared, and sometimes I’ve felt powerless to help. It’s difficult to judge when to step in and when to back off. I still think Ren should get his dance, but I better understand now why Reverend Moore is so set against it.

RAPID FIRE WITH FOOTLOOSE’s ETHEL McCORMICK, LAURA AMOND

JHPENTERTAINMENT: What is it about the role of Ethel that made you want to audition?

LAURA AMOND: As a single mom myself, I can really identify with Ethel. She is navigating the uncertainty and challenges of life as a single mom, while trying to remain strong for her son. She says at the top of the show that she’s not one of those “strong single mothers”, but truly, her heart and spirit are. She is Ren’s consummate cheerleader in the face of diversity, and pillar of wisdom who lifts him up when he needs reminded of his own strength. Ethel reminds me that I am also stronger than I sometimes believe and that in the end, love is all we need.

JHPENTERTAINMENT: You mention in your bio that you’re among the few cast members who remembers the original film version. It’s a little mind-blowing that it’s been 40 years since Kevin Bacon danced across the screen as Ren McCormick, now here you are playing Konnor Dolberry’s Ren’s Mom. As a Mom in real life, what motherly advice would you offer the younger costars?

LAURA AMOND: Honestly, Jonathan, I think I learn from my younger costars every day. They remind me to embrace every opportunity, to take constructive criticism as an opportunity to grow, to show kindness and relentless support for one another, and to practice gratitude in all things. Most of all, they remind me about the importance of community and just how much my extended theatre family has shaped my life in the very best way possible.

JHPENTERTAINMENT: For those of us of a certain age, there’s just something about the beginning beat of the title tune made famous by Kenny Loggins when it was included on the movie soundtrack. Of course as musical, the score has been expanded to include familiar tunes and material written specifically for the stage adaptation. What’s your favorite musical moment in the show, and why?

LAURA AMOND: Oh goodness, it’s so tough to choose just one! Footloose was absolutely one of the soundtracks of my teenage years, so the songs bring back a ton of personal memories. Was there any high school prom in 1984 that didn’t have an Almost Paradise theme?!

Specific to this production, there are so many brilliant moments given the stellar vocals of the entire cast. Familiar tunes from the soundtrack, Almost Paradise (performed to perfection by Konnor Dolberry and Bryli Evans); Let’s Hear it for the Boy (Takiah Ledo SLAYS!), and two songs performed by the trio of Takiah Ledo, Julia Mowry and Abby Webb, Somebody’s Eyes and I Need A Hero are even better than the original with these gals at the helm. Trust me, they are FIRE!

With respect to the songs written specifically for the stage adaptation, there are numbers which bring levity and reflection. Mama Says brings down the house as performed by Riley Morris and the trio of Jack Forte, William Richardson, and Levi Carter. More sentimental moments come from the adult cast. Learning to Be Silent (Donna Driver, Bryli Evans and myself) reflects on the patriarchal suppression of women’s voices, Heaven Help Me (Kevin Driver at his absolute best) shows the Reverend’s internal struggle with being the moral leader of the town amidst a personal struggle, and Donna Driver’s poignant Can You Find it in Your Heart depicts the loyal wife trying to help her family find balance again after tragedy.

JHPENTERTAINMENT: Footloose is being directed by Susan Walsworth. You both first shared the stage back in 2012 in Circle Players’ production of Titanic. How’s Susan as a director?

LAURA AMOND: I can’t say enough about Susan! You’re right, we shared the stage in 2012 and many times since, most recently (if 2018 can be considered recent) in Circle Players’ The Full Monty where she was absolutely brilliant as Jeannette. To know Susan is to love her – on and off stage. She is kind, generous with her time and talent, and passionate about everything she does. I know Susan as a mom, a friend, a castmate and now a director, and I can honestly say she leads with her heart in every role she plays.

For the people who come to see the show, it’s clear that Susan is equally talented as a director as she is on the stage. Her eye for casting is evident with the talent she has assembled in this production. Her attention to detail with blocking, transitions and sharing her vision take an already stellar performance to the next level. She treats every individual with kindness and respect and in so doing, brings out the best in every artist. She makes you feel safe to make bold choices and knows when to reel you in. And because Susan’s humility is second-to-none, I know she would want me to say that she is made better by her production team for bringing her vision to life (Heidi Buyck/choreographer, Roger Hutson/music director, Dylan Kim/stage manager, Madison Soper/assistant stage manager, Kevin Driver/set design, Megan Whitney/costumes, Tabby Ragland/props).

I have been proud to share the stage with Susan many times and it has been inspiring to see my friend shine as director. I will not hesitate to audition for any production in the future with her at the helm, because her passion breeds joy throughout the process. This show has been a gift to me in so many ways, and I have Susan to thank for that.

JHPENTERTAINMENT: I like to end these chats by asking a variation of this question, so since you’re my final chat today, it’s all you…What do you hope audiences come away remembering after seeing The Keeton’s production of Footloose?

LAURA AMOND: In this time of division in our society, I think Footloose is a great reminder of the power of the collective to affect change. It celebrates the human spirit and the idea that some norms need to be challenged in order to evolve. The true champions of the show are the young people who help to lead their community to a more joyful future. Every day the young cast inspires me with their wisdom, passion, and commitment to this theme, and I am reminded that our collective future is in good hands with the younger generation today. Perhaps we should follow the lead of Reverend Shaw by listening more often so that we can realize a future of acceptance, joy, celebration and harmony.

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Footloose: The Musical opens at The Keeton Friday, August 9 thru Sunday, August 25. Dinner and Show tickets are $40 for Adults and $35 for Children*. Show Only tickets are $30. CLICK HERE to purchase tickets. Next up at The Keeton is William Inge’s Bus Stop, with performances October 11- 27. WATCH THIS LINK for tickets or more information soon.

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

*at the time of this article, most of the performances of Footloose: The Musical had already SOLD OUT, but don’t put away your dancing shoes just yet. Check the schedule and if there’s a show date you want to attend, give the box office a call to see if there’s any tickets available.

Rapid Fire 20Q with cast and director of ‘Sordid Lives’ opening Friday, July 26 at Playhouse 615

July 26, 2024 by Jonathan

Sordid Lives is arguably not only one of the most beloved modern era stage plays, but also an important piece of LGBTQ+ history. Not only was it written and originally directed by the the queer community’s most prolific playwright, Del Shores, but the original production, as well as the subsequent 2001 film adaptation, a prequel tv series and another cinematic sequel all featured the late great Leslie Jordan in the pivotal role of Brother Boy. With that in mind, when I heard Playhouse 615 was mounting their own production of the original stage play, I knew I wanted to catch up with a few of this production’s stars, including: Steve Raimo (Brother Boy), Mick Grayson (Ty), Robert Coles (Wardell), Diane Bearden (Aunt Sissy) and director, Erin Grace Bailey for my latest Rapid Fire 20Q interview.

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RAPID FIRE 20Q WITH STARS AND DIRECTOR OF PLAYHOUSE 615’s SORDID LIVES

RAPID FIRE WITH MICK GRAYSON, TY WILLIAMSON IN SORDID LIVES

JHPENTERTAINMENT: What is it about Ty that make you want to take on this role?

MICK GRAYSON: I’ll be totally honest – I went into the audition pretty blind. I had merely read the description of the play at the time, and chose the role whose description best fit me. I try to let myself be surprised when I do a cold read for an audition, as we did with Sordid Lives, because I want to use my instincts to drive what character choices I would make. Now that we have spent several weeks developing these characters, I feel like Ty is an interesting juxtaposition as he is simultaneously the audience’s “everyman” who helps ground the show, while also demonstrating that even those in the higher social castes (celebrities in this instance) are not immune to social stigmas. Ty’s story is a deeply personal one that echoes throughout the rest of the characters’ stories, and that echoing alongside the amazing work of the rest of the cast helps to make everyone in the show more realistic and not caricatures.

JHPENTERTAINMENT: I understand you studied Acting at UT Knoxville. Anyone who reads my column with any regularity knows that I always ask the following on UT alum…Did you have any opportunity to study under my friend Carol Mayo Jenkins? AND…What is something you learned during your time at UT that you value as a life lesson you’ll not soon forget?

MICK GRAYSON: I sadly did not get much of a chance to work with Carol in a classroom setting, but I did work with her backstage on multiple shows. Due to the very high standards and requirements for actors at the Clarence Brown Theatre, I worked on over a dozen shows as part of different backstage crews, so I never got to see the process of Carol going through and building her characters with the directors, but I do remember the level of commitment she brought to every show when I saw her work.

As for life lessons, I think one of the biggest ones was about finding and building your own community. In my bio, I mentioned my gratitude for the support of both my related and chosen family. You wind up connecting so deeply with people you work on productions with, and quickly learn how you can and need to rely on them. It’s funny because I frequently worked the annual Christmas Carol shows at the Clarence Brown, and between days with multiple shows, children’s performances, the long run of the show, and the fact that it coincides with final exams, it was an incredibly stressful and tiring experience, but also some of the most memorable times at UT came from doing those shows.

JHPENTERTAINMENT: In your show bio you’re very honest about the fact that you’re disabled. That hit a chord with me, as I myself am physically disabled. How important is it for you to be a performer, showcase your talents and focusing on your ability, as opposed to your disability?

MICK GRAYSON: I think we can thank my mom for that one. She was a lion when it came to my illness-she never shied away from the severity of it, but she never made it where the illness was my only defining quality. When she was looking to enroll me in pre-school, she made where I would be introduced to the teachers and they could get to know me and how I operate BEFORE disclosing my illness to them; not as a means of staving off rejection from the school, but to indicate that I am more than my health condition.

I’ve applied that now as an adult, to where I recognize my limits, but never want that to be limit the quality of my life. I am fortunate in that for the most part, my disability is invisible. Most people who see me wouldn’t know I have any issues, and that makes it easier to avoid any discrimination or external limitation. But I think it’s important to be represented in this space so those who identify as disabled or who do have significant health problems can reduce their self-imposed limitations and live more on their own terms.

JHPENTERTAINMENT: I understand is your first time working with Playhouse 615. How has the experience been so far?

MICK GRAYSON: I’ve loved it. I’ve been out of this world for several years after COVID, and the team has made me feel right at home right out the gate. No production is without its snags, and Erin Grace has been a great champion of the play itself and supportive of the cast as we all work through our individual issues. I’m also impressed by the work that the cast has put forth in trying to connect with this story and their characters to make it hysterical while keeping its poignancy. For a return to the performing world, I don’t think I could have asked for a better set up.

RAPID FIRE WITH STEVE RAIMO, BROTHER BOY IN SORDID LIVES

JHPENTERTAINMENT: You’re playing Brother Boy, a role made famous by the late, great Leslie Jordan. I know you’re as big a fan of this work as well as the two feature films and the tv series based on the play. So how are you finding a balance between honoring the iconic character created so perfectly by Leslie while making it your own?

STEVE RAIMO: What an honor it is to portray the character of Brother Boy, and I can only hope that I do the character justice for Del Shores, and that Leslie will smile on me from above. Those are some pretty big heels to fill. Because this character is so genuine, it’s so much fun to try and bring them to life for an audience. I remember the first time watching the movie, I fell in love with Brother Boy, and I have put my heart into this role to have our audience fall in love with him too.

JHPENTERTAINMENT: Not long after the cast of Playhouse 615’s Sordid Lives was announced, you and I chatted and you asked me if I had any advice in your portrayal. After I paraphrased RuPaul’s “Don’t F it Up”, I suggested that you not play Brother Boy’s drag scenes with the same self-assuredness that you bring to the stage in your drag persona, Veronika Electronika. Have you taken that advice, and how do you see Veronika and Brother Boy’s Tammy Wynette drag as different characters?

STEVE RAIMO: Veronika via Steve is so different from Tammy via Brother Boy. They approach their stage personas in different ways. To Brother Boy, Tammy gives him life, he idolized her, while Steve gives Veronika life; she’s nothing without him. I’ve had to step out of my comfort zone and put the drag diva to the side and let Brother Boys love for Tammy shine through.

JHPENTERTAINMENT: On the flip side, are there indeed similarities between Tammy and Veronika?

STEVE RAIMO: If there are similarities, it’s that they are there to entertain. Brother Boy’s Tammy to the patients at the state hospital, and Steve’s Veronika to audiences at venues across Nashville and beyond; but at the end of the day, us Queens are here to bring Joy!

JHPENTERTAINMENT: Why was it important that you not only audition for this role, but that you get it?

STEVE RAIMO: Well, as a potential Class D felon, in the eyes of the State of TN I feel that it is important to have drag representation in theater. Roles like Hedwig, Alban, Mrs.Turnblad and of course Brother Boy are just the roles that showcase the versatility of what drag is (and what it isn’t).

RAPID FIRE WITH DIANE BEARDEN, SISSY HICKEY IN SORDID LIVES

JHPENTERTAINMENT: What can you tell me about Sissy Hickey, the character you play in Sordid Lives?

DIANE BEARDEN: A mediator, listener, friend, sister, aunt, smoker and, bless her heart, white trash.

JHPENTERTAINMENT: Sissy is one of my favorite characters in the Sordid Lives universe, partly because she’s got some real zingers and great comebacks. Do you have a personal favorite Sissy-ism?

DIANE BEARDEN: “Jesus Called, Peggy Answered….Awwwwww”. Coming in a close second, “Bless’er heart. Had more troubles than Christ on the cross.”

JHPENTERTAINMENT: You were last seen on stage at Playhouse 615 in their recent production of Nunsense, you directed their production of The Sugar Bean Sisters and you’re a member of their Board of Directors. What is it about Playhouse 615 that keeps you coming back?

DIANE BEARDEN: I have a real soft spot for this theatre. I’ve been with them since the beginning. Exciting stuff happening at Playhouse 615.

JHPENTERTAINMENT: Is there a character trait of Sissy’s that you’d like to adapt to your own life?

DIANE BEARDEN: Quite frankly, I already possess most of Sissy’s traits. The only difference really is I don’t smoke. Typecasting at it’s finest. 🙂

RAPID FIRE WITH ROBERT COLES, WARDELL ‘BUBBA’ OWENS IN SORDID LIVES

JHPENTERTAINMENT: While coordinating these chats with you and your cast and director, you revealed to me that you’ve never actually seen Sordid Lives, not onstage, not the films, not the tv series. Do I need to revoke your gay card? Seriously though, you also went on to tell me that you wouldn’t be viewing any of the source material so as not to sway your portrayal of Wardell. That said. Who is Wardell to you?

ROBERT COLES: Haha! You’re not the first person to try to revoke my gay card because of this! Alas, I have not seen Sordid Lives. In fact, I didn’t do any research prior to auditions, and never read the full script until our read through! Once cast, I didn’t want to watch the material to make sure I was creating a character that is authentically mine. Wardell is such an interesting character. We see him go through a full spectrum of emotions in about 30 minutes, and ultimately attempt to redeem himself. He’s deeply flawed, deeply remorseful, and takes the opportunity given to him to make things right. I’ve enjoyed not only getting into the emotions of the character, but also the physicality of him. Wearing the tight Wranglers and boots, walking more “straight,” and stripping down to my underwear have all pushed me mentally and physically to be a better actor.

JHPENTERTAINMENT: What’s been the most challenging aspect of playing Wardell?

ROBERT COLES: We’re dealing with some heavy subject matter in this show, and we try to do it with humor and grace. For me, some of the lines I say are very hard to deliver as an out and proud gay man. But, they’re also very healing for me. As someone who has faced discrimination for being gay, I’ve been able to heal myself by saying these lines via Wardell that I wish were said to me. I’m hoping to bring some humor and laughs to the stage, while also showing that we are all flawed, but all capable of change. As someone who has made tons of mistakes, Wardell and I are on the same path. I work every day to continue to correct mine and make amends.

JHPENTERTAINMENT: Now that you’ve read the script and are fully immersed in the Sordid Lives world, if the opportunity ever arose and you could play another character, who would it be and why?

ROBERT COLES: Oh, goodness!! This is an excellent question. If I could play any character, it would probably be Sissy. But, I think that’s only because of the brilliance I see in Diane’s performance every night. Her comedic timing is just too brilliant. And I love how she’s playing this almost totally strait-laced character who has to hold everyone and everything together at all times.

If I needed to play one of the male characters though, I would want to play Ty. I love the monologues he delivers. He says so much of what so many gay men are feeling and thinking as they navigate their coming-out journey. And Mick’s performance is so outstanding.

JHPENTERTAINMENT: I’m gonna go a little off-script here and ask you about a couple original plays of yours that you’ve got coming up. What can you tell me about Aunt Sally’s Wild Ride and Lithium & Xanax & All of My Friends?

ROBERT COLES: While I love being on stage, I think my true passion is in writing and storytelling. I’m very excited and honored to have two of my shows running back to back and receiving their world premieres here in Nashville in September and October!

Lithium & Xanax & All of My Friends is a semi-autobiographical drama about a gay man, Adam, who has difficulty coming to terms with past traumas. His friends gather together one night to stage an intervention and force him to deal with his past so he can move forward, or face the consequences if he doesn’t. This show is unique in that it has three different endings, and Adam gets to decide in the moment which ending he wants to tell that night, forcing the audience and his fellow actors to truly be in the moment to tell the story. I’m very excited that this show will also be premiering Off-Broadway in New York City with Theatre 4the People in 2025! The show runs October 4-12 at the Darkhorse Theatre, and tickets can be purchased at bsntheatre.org

Aunt Sally’s Wild Ride is my love letter to Nashville and good old fashioned southern comedies. I’m very excited that Playhouse 615 was interested in partnering for this production to give it a quality world premiere before the show becomes available for licensing worldwide next year. The basic storyline is that Aunt Sally (who will be played by the brilliantly talented Linda Spier) has had enough of her boring routine and starts to go a bit off the rails. Her family gathers together out of concern for her eccentric behaviors (and to ensure she doesn’t spend their inheritance) and chaos ensues. It’s full of fun Nashville references and hilarious characters, and at the end of the day, it’s about family. And, each character is based on a member of my own family! This show runs September 13-29 at Playhouse 615 and tickets will be on-sale soon!

RAPID FIRE WITH SORDID LIVES DIRECTOR, ERIN GRACE BAILEY

JHPENTERTAINMENT: While I gave Robert a bit of a hard time for having never seen the source material, I’m curious what advice as a director you gave your cast on finding their own versions of these iconic and beloved characters?

ERIN GRACE BAILEY: Well, it’s sort of a fine line, right? Iconic characters are iconic for a reason, and while we might want to give a nod to the film, we don’t want to steal those artists’ artistic integrity. Besides, film acting and stage acting are very different. Some things don’t translate as well on stage.

This might be controversial of me, but I always tell my actors, if there’s a movie of a play that I’m directing and they’ve never seen it, don’t watch it. Let the text speak for itself. At the end of the day, we’re there to tell a relatable story, not create a caricature of someone else.

JHPENTERTAINMENT: Who else have you got working with you to bring your vision to life behind the scenes as far as set design, props, wardrobe, hair and makeup?

ERIN GRACE BAILEY: I’ve been really lucky to have such a devoted cast. It’s been a “all hands on deck” production. Most of my designers you’ll also see on stage. Mick Grayson who plays Ty has sort of been my right hand, especially the last week or so. He stayed with me at the theatre until 2 am one night doing our light design while I did sound. Rich Moses who plays GW and my stage manager Kaleigh Reichert did our set, and everybody has pitched in with props and costumes. It’s been a lot of fun. We’ve really become a family.

JHPENTERTAINMENT: Playhouse 615 is one of the more intimate theatrical venues in the Nashville area, but they’ve proven, especially in recent productions, that they can definitely make the most of the space. How have you dealt with the challenges of the smaller stage for Sordid Lives?

ERIN GRACE BAILEY: I’ve been lucky to have been able to perform on the 615 stage a few times, so knowing what it feels like to be up there was helpful in knowing how to block the scenes. One of the biggest challenges was how to set up all of the different scenes without a ton of furniture. There’s not a lot of room backstage, and this is a cast of 11 people, so storing stuff in the back was not an option.

I fell in love with found object design when studying directing abroad in Prague, so that’s the concept we went with. Found object is when you don’t buy anything new. Everything is recycled and ideally “found” instead of purchased. It’s perfect for a Southern play. We sort of set the whole thing in the bar but move the furniture pieces around to create the belief of other spaces. The whole design concept has a very Cracker Barrel feel to it (or I guess former Cracker Barrel since they’ve sadly been going modern) with props hanging on the wall, and the audience gets to go on stage and look at it all during intermission and pre-show. I’m hoping our audiences will really enjoy not just our actors, but the design too.

JHPENTERTAINMENT: After seeing Playhouse 615’s Sordid Lives, what do you hope audiences take with them?

ERIN GRACE BAILEY: There are absolutely some heavy topics discussed in this play. Many of our audience members probably will have been through some of these things themselves, but I want the audience to take away that, in spite of it all, life is beautiful, and it’s full of joyful little moments even in its tragedy and complication. I want the audience to remember that love is love is love, and I want them to feel the love that this room of people [the cast] who didn’t know each other four weeks ago now have for each other. Most of all though, I want them to leave with a smile on their face.

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Playhouse 615’s Sordid Lives opens Friday, July 26 and runs weekends through August 11. Performances are 7:30p.m. on Fridays and Saturdays, with a 2:30p.m. matinee Sundays. Playhouse 615 is located at 11920 Lebanon Road, Mt. Juliet, TN 27112. Tickets for Sordid Lives are $20 or $17 for military and seniors and can be purchased online (CLICK HERE), by phone (615.319.7031), by emailing the Box Office (playhouse615@yahoo.com) or in person beginning and hour before each performance.

Up next at Playhouse 615 is the Middle Tennessee premiere of Cormac McCarthy’s The Sunset Limited directed by Anastasia Zavaro and starring Elliott Robinson and Bowd Beal, presented by The Other Me Theatre Company, onstage August 15-18. CLICK HERE for tickets. For more on the show and to keep up with Playhouse 615, check out their website or follow them on Facebook.