Musical

With a newly remodeled facility and a remounting of last year’s heavenly production of ‘Sister Act: The Musical’, Chaffin’s Barn Dinner Theatre is a hard habit to break

August 9, 2018 by Jonathan

(l to r) Martha Wilkinson, Vicki White and Meggan Utech are back in the habit in a reworked production of “Sister Act: The Musical” onstage at a renovated Chaffin’s Barn Dinner Theatre now thru August 25 (photo courtesy Chaffin’s Barn Dinner Theatre)

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UPDATE: Last week, when this preview was first published, Chaffin’s had announced a Back to School BOGO special, unfortunately a power outage in the area prevented that from taking place. Just this morning—via email blast to patrons and supporters—another Buy One Get One Special was announced for their 7:30 p.m. Thursday, August 16 performance. The first 30 patrons to call Chaffin’s Barn Dinner Theatre’s reservation line (listed above) and mention the PROMO CODE: THIRTY can take advantage of this one-night-only BOGO Special for dinner and the show.

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Back in February, following a successful run of Disney’s Freaky Friday, Chaffin’s Barn Dinner Theatre temporarily closed up shop of some much-needed renovations to the half-century old facility. Just last weekend, the wait was over as Chaffin’s reopened to continue their 52nd Season with a re-staging of last year’s hugely popular production of Sister Act: The Musical. “We wanted to revive the show because people loved it so last year, and because we were sold out, some missed it,” said Chaffin’s Artistic Director, Martha Wilkinson. “It’s a great show to reopen with after renovations because the show is all about redevelopment, change, growth and love,” she continued.

Back in the habit for Chaffin’s rechristening is Meggan Utech as Deloris Van Cartier, the night club singer, who, after ratting out her gangster boyfriend for popping a cap in a street thug, is forced to go into witness protection as a nun.

Wilkinson also returns to her role as the no-nonsense Mother Superior who’s constantly butting heads with her new undercover charge. Longtime patrons of Chaffin’s no doubt recognize Wilkinson, who’s been a venerable part of The Barn family for three decades. In addition to being Chaffin’s Artistic Director, and co-starring as Mother Superior, Wilkinson is also at the helm of this production of Sister Act as the show’s director. Everett Tarlton is the show’s choreographer and returning once again as musical director for Sister Act is Kelsi Fulton.

Among those returning to the flock on-stage are: Devin Bowles as Curtis, Deloris’ aforementioned murderous beau, Gerold Oliver & Curtis Reed as Curtis’ bumbling henchmen, TJ and Joey, Vicki White as Sister Mary Lazarus, Jenny Norris as Michelle, David Arnold as the Monsignor and Braden Wahl as Ernie.

Of this iteration of Sister Act, Wilkinson exclaimed, “We’re having a blast!.” As for additions to the fold, Wilkinson continued, “There are some new cast members who are rocking it. Maggie Richardson as Sister Mary Robert is off the chain. Fantastic voice and energy, and she’s adorable.”

Other additions to the cast include: Megan Roberts as Sister Mary Patrick, Hallie Long as Sister Mary Bernice, Ang Madaline-Johnson as Sister Mary Martin of Tours, Jenny Wallace as Sister Mary Teresa, Everett Tarlton as Pablo, David Ridley as Sweaty Eddie, Christina Candilora as Tina and ensemble member, Andrew Neal.

A true testament to Chaffin’s storied history with Nashville Theatre, during opening weekend of Sister Act, there were Sold Out performances, with several upcoming performances already selling out as well. Of the reinvigorated interest in Chaffin’s and their newly remodeled facility, Wilkinson said, “We’re so very excited to continue the legacy!”

With that enthusiasm, there’s no doubt Sister Act is divine proof that Chaffin’s is back in the habit. Sister Act continues its run with performances through Saturday, August 25. Each week features Thursday matinee performances at noon (doors open at 11 a.m. with a Box Lunch option), Thursday-Saturday evening performances are at 7:30 p.m. (doors open at 5:30 for dinner service until 7 p.m.). There are also select Sunday matinees at 2 p.m. (doors at noon, with lunch service until 1:30 p.m. Thursday matinee tickets are $28.50 with Box Lunch ($20 Show Only). Evening and Sunday tickets are $62 ($37 Show Only and $18 for Children 12 and under ). Chaffin’s also offers a Small Plate a la carte menu option with separate pricing per item. Group Rates are also available. CLICK HERE or call the box office at 1-800-282-2276 for tickets or more details.

Following Sister Act’s run through August 25, Chaffin’s will present Disney’s Newsies onstage September 20-October 27. CLICK HERE for tickets, as this one’s sure to be another popular show for Chaffin’s. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Renaissance Players’ ‘Little Shop of Horrors’ feeds the need with a gorgeous Twoey, clever doo-wop and blood by the drop; on-stage in Dickson thru Sunday, August 5

August 4, 2018 by Jonathan

Audrey II and Seymour (Brett Myers) in Renaissance Players’ “Little Shop of Horrors” (all photos by Alaina Deaver/Courtesy Renaissance Players)

I’ve been a fan of all things Little Shop of Horrors since discovering the original campy horror/comedy film, its subsequent stage musical adaptation and the Frank Oz-directed film version of the musical adaptation in late 80s. Full disclosure: I may or may not admit to frequently belting Somewhere That’s Green while listening to my Walkman back in the day. So, as you can imagine, I was both excited and apprehensive to attend opening weekend of Renaissance Players’ take on the musical adaptation. To my delight it’s as bloody enjoyable as I had hoped.

Based on the aforementioned 1960 black comedy horror film, The Little Shop of Horrors, directed by schlock-master Roger Corman that quickly garnered cult status, Little Shop of Horrors dropped the ‘The’ when it got the stage musical treatment by Howard Ashman and Alan Menken in the 80s. That’s right. Before gaining notoriety for such Disney animated musicals as The Little Mermaid, Beauty and the Beast and Aladdin, Menken and Ashman collaborated on a little off-Broadway favorite about nebbish floral assistant Seymour Krelborn, his sweet, albeit dim-witted co-worker crush, Audrey and Audrey II, a bloodthirsty dionaea muscipula hybrid—that’s an amped-up Venus Flytrap for the less horticulturally inclined.

As is often the case with Renaissance Players productions, Little Shop of Horrors is somewhat of a family affair, what with Jon Kopischke directing, wife Valerie Kopischke on-board as the show’s costumer and two of the Kopischke offspring featured in the cast. Luckily for the community of Dickson, TN, they are a talented family. It’s also fortunate that the rest of the cast is also plenty capable in their assigned roles.

Peri Barnhill and Brett Myers as Audrey and Seymour in Renaissance Players’ “Little Shop of Horrors”

To that end, both Brett Myers and Peri Barnhill mark their Renaissance Players acting debuts leading the cast as Seymour and Audrey. For fans of the film, Myers does a fine job channeling popular 80s comedy actor Rick Moranis’ Seymour, charmingly awkward when in the presence of his female co-worker and geekishly stumbling in and out of doorways. Proving he’s adept at physical comedy as he is musical theatre, Myers’ plays the perfect underdog the audience instantly roots for, even in the dark comedy’s stranger moments. To clarify an earlier statement, playing Seymour may be Myers’ acting debut with Renaissance Players, but he’s a familiar face at Renaissance having directed both their productions of Annie and Beauty and the Beast last season. As an actor he’s been in a number of shows elsewhere.

Barnhill’s Audrey, while not as ditsy as the role is often presented, plays her with a cutesiness peppered with just enough seemingly unintentional provocativeness. Add to that Barnhill’s voice and its easy to see why Myers’ Seymour is so smitten, as Audrey, Barnhill gets most of the show’s best-known tunes, including Suddenly Seymour and Somewhere That’s Green. Lyrics in the latter indicate she ‘cooks like Betty Crocker and looks like Donna Reed’. More accurately, in character as Audrey, Barnhill’s portrayal falls somewhere between two Marilyns…Monroe (impish mid-century big screen sex goddess) and Munster (of the cult classic TV sitcom, The Munsters). As mentioned above, I’m a huge fan of this show, and Audrey’s musical numbers in particular, and much to my delight, Barnhill performs these iconic Ashmen/Menken tunes beautifully.

Audrey (Peri Barnhill) and the Doo Wop girls (Tori Gunn, Ashley Birnbaum and Leslie Kopischke)

Those familiar with Little Shop likely remember the three girl singers in the show who are reminiscent of such 60s groups as The Supremes, Martha and the Vandellas, The Shirelles, The Marvelettes and others…well, whitewash them and you’ve got Renaissance Players’ Chiffon, Crystal and Ronnette, three wise-cracking, street-smart girls who not only hang out in the alley, but also provide plenty of doo-wop background harmonies throughout the show. Usually played by three….shall we say…more ethnically diverse actresses, this time around they come across more Pink Ladies than Supremes as played by Tory Gunn, Leslie Kopischke and Ashley Birnbaum. Nothing against these ladies, who do a fine job as the gum-poppin’, finger-snappin’, doo-woppin’ tuneful trio, as I understand a show can only be cast from the actors who audition for the roles.

Seymoour (Brett Myers) and Mr. Mushnik (Alex Kopischke

Another interesting casting choice comes in the form of Alex Kopischke as Mr. Mushnik, the stereotypical jewish florist owner who sees Seymour as a son and the invention of Audrey II as a chance to turn his skid row shop into a money maker. Rather than affect a yiddish dialect, Kopischke presents Muschnik with an overly-exaggerated gravelly voice. I honestly don’t know how he’ll make it through the show’s brief two-week run without causing himself to get horse from speaking that way. Interesting vocal choices aside, Kopischke’s Mushnick is fun to watch, especially when he and Myers attempt a little wink to Fiddler on the Roof choreography during the Mushnick and Son number midway through Act 1.

Then there’s Bryce Conner, by far the standout performer in the show. Not only is he devilishly hilarious as Orin Scrivello, DDS, Audrey’s laughing-gas-addicted dentist boyfriend, he also steals scene after scene throughout the show, playing a multitude of quick-change single-scene roles. With characters ranging from, a homeless man and a wealthy investor interested in Audrey II to customers and Mrs. Luce, a magazine editor with her eye on Seymour, it becomes simply fun wondering who Conner will show up as next. With what would appear to be a healthy affinity for Steve Martin’s portrayal of the dentist in the film adaptation, Connor hams it up during his (SPOILER ALERT) death by excessive laughing gas. Heck, I personally needed a hit of oxygen after laughing so hard as his prolonged death scene.

Rounding out the cast is Dale McCoy. Like Conner, he too plays more than one role. Primarily the voice of Audrey II, McCoy is first seen as a homeless man in the show’s full cast Skid Row number near the top of the show. Side Note: is it just me? or is Hairspray’s Good Morning Baltimore a rip-off of Skid Row?…but I digress. A clever bit of foreshadowing, when not voicing the man-hungry plant Audrey Two, affectionally called Twoey by Seymour, McCoy’s homeless guy can be spotted carrying a cardboard sign that reads “Feed Me”, which—no-so-coincidentally— is also the title of McCoy’s big Act 1 number. McCoy is featured again during Act II Suppertime. Unfortunately, McCoy’s vocals, with his booming deep voice, after often overshadowed by the audio of the show’s soundtrack, likely because McCoy is backstage on a single mic, without the benefit of the added mics hanging above the actors who appear on stage.

Audrey II and the cast of “Little Shop of Horrors”

Finally, special mention should be made of the set designed by Robert Cooper and the Audrey II puppets, operated by Jenna Wright. When I inquired about the puppets, Director Jon Kopischke informed me they’re from Swazzle, a Glendale, California puppet company founded by brothers Sean and Patrick Johnson. Not since the mid-2000s national tour have I seen a more professional set, better lighting and such gorgeous Audrey II puppets.

Renaissance Players’ Little Shop of Horrors wraps its two-weekend run this weekend with two shows remaining. First up, Saturday, August 4 at 7 p.m., then a final Sunday matinee on August 5 at 2 p.m. Tickets are $15 for Adults, $10 for Seniors and Students and $5 for Children. Director Kopischke announced via social media on Saturday that Saturday evening’s performance will also offer a Back to School Special 1/2 price tickets for Students at the on-site Box Office. Tickets can also be purchased by calling 615.593.5520, or Click Here to purchase tickets online. Little Shop of Horrors is being presented in the larger auditorium space on the main level of The Renaissance Center (855 TN-46, Dickson, TN 37055 just 45 minutes west of downtown Nashville via 1-40 W).

Up next for Renaissance Players is the musical comedy, Church Basement Ladies. Appropriately, this show will be presented downstairs at The Renaissance Center in their smaller, more intimate Gaslight Dinner Theatre space and will include a pre-show dinner. Tickets are $40/Adults or $35/Seniors. Click Here for tickets or more information. To keep up with Renaissance Players, follow them on Facebook, Twitter and Instagram.

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

Audience of One and Capitol Players’ ‘West Side Story’ a faithful and entertaining production of one of musical theatre’s most beloved shows

July 27, 2018 by Jonathan

Since its Broadway debut in 1957, West Side Story—with original book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim and original choreography by Jerome Robbins—has remained one of American musical theatre’s most treasured works. The subsequent 1961 film adaptation, which won ten of the eleven Oscars for which it was nominated, only further solidified the piece’s rightful place in musical history. Of course the fact that the show itself drew inspiration from William Shakespeare’s Romeo and Juliet hasn’t hurt its iconic status.

Taking that storied history into consideration, when a newer local theatre company bravely includes the legendary show in their current season (the company’s third), you gotta figure they either know they’ve got the talent to back it up, or they’re as starry-eyed as Shakespeare’s ill-fated young lovers. Directed by Audience Of One founder, Angie Dee, whose company is producing the show in collaboration with Capitol Players, with musical direction by Sandy Elliott and Jenny Youngman, it’s quickly evident that it’s the former, with a surprisingly talented cavalcade of young actors paying homage to the beloved musical theatre masterpiece.

I had the opportunity to attend last weekend’s opening night performance and while there were the usual opening night nerves initially present among a few of the cast members, once they got their grove, they played it cool, real cool.

Among the stand-out in the show, appropriately enough, are the two leads, Matt Gunn and Madison Graves. Gunn, who has the looks of a young Justin Timberlake, plays Tony, the golden boy of The Jets, a local gang bent on protecting their turf against the Puerto Rican gang, The Sharks. (Yes, themes of who belongs in this country and opposition to loving who you choose to love are sadly as relevant today as when this play debuted more than a half-century ago).

Mostly because of his own youth or at least his youthful appearance, as I’ve truly no idea how old he is, Gunn presents Tony with an innocence and inexperience that’s quite the welcome change from the usual local productions of the show in which it’s not uncommon for thirty-somethings to be playing the teenage characters. But more than that, when Gunn sings his share of the show’s numerous signature songs like Something’s Coming and Maria, he does so with a convincingly undeniable optimism that frequently accompanies first love. A few vocal missteps on opening night aside, as Gunn continues his training and performing, he’s surely to become a force to be reckoned with in the Nashville theatre community.

Matching Gunn’s on-stage believability scene for scene is his Maria, Madison Graves. While she may in fact be a couple years older than her leading man, (again, I truly have no real concept of her exact age) she plays the lovestruck girl with aplomb. Her dark hair and striking looks and a convincing hispanic accent simply enhancing the idea of Maria. She’s never better than when going note for note alongside Gunn’s Tony for One Hand, One Heart, one of my personal favorite musical moments in the show. Graves also shines in Act 2’s playful I Feel Pretty, a song she shares with a few of Maria’s friends. And if you don’t shed a tear during I Have a Love, I have no love for you.

Speaking of Maria’s friends, Macy Ruggiero plays the outspoken Anita (Rita Moreno’s Tony-winning role in the film, for those whose point of reference that remains). Hands-down my favorite character in the film adaptation and pretty much any production I’ve ever seen of West Side Story, Macy’s Anita does not disappoint, stealing every scene she’s in and perfectly hitting every single note of every song she’s a part of, most notably, the caustic America and the cautionary A Boy Like That. Simply blissful to watch.

Cast as Tony’s womb-to-tomb fellow Jets are Alex Dee, Daven Dee, Tanner Buttery, Brad Thompson, Abe Gibson, Tanner Myers, Jake Yoder and I can’t forget CJ Shandor as Anybodys. Tasked with opening the show with Jet Song, the boys and Anybodys come together to support each other perfectly. That same camaraderie holds true during the Jet’s other all-in, Cool.

Appearing as the Jets Girls are Rebekah White, Hope Beard, Maggie Morgan, Tessa Groves, Keely Chandler and Bently Spicer. With Gracie Youngman, Rachel Rae Poole, Stella London, Sadie Holt, Christina Ray, Emma Bastin, Julia Mowry their counterparts as The Sharks’ Girls.

Aside from Graves’ Maria, Ruggiero’s Anita, the aforementioned I Feel Pretty and Ray’s solo during Somewhere, the girls don’t exactly feature as prominently as the boys in the show. That said, they are indeed a vital part of the show and their presence during the group numbers showcases their individual voices while simultaneously blending for a powerful chorus that magnifies the glory of the famed soundtrack.

Taking on the Jets are Bernardo and the Sharks. Joseph Walker does an admirable job as Bernardo, particularly enjoyable during the show’s technically tricky choreographed fight scenes, under the direction of stage combat choreographer, Katharine Boettcher. Walker’s Bernardo also benefits from his fellow Sharks: Josh Crabtree, Will Deffendall, Derek Fry, Gibson Littlejohn, Patrick Pride, Sam Martin and Daniel Carrasquillo. Perhaps because I’m familiar with Carrasquillo, having seen him in previous productions across town, my eye kept going back to him, especially during the many dance sequences.

On the subject of dance numbers in this production of West Side Story, weeks before I even attended Opening Night, I kept seeing post after post praising the choreography in this show. Much to my delight, choreographer Rebecca Poole and the entire cast completely live up to the hype. Kudos to the whole cast for the obvious hard work and dedication to bringing this often challenging choreo-full piece to the stage in such a lovely way.

As referenced above, while the majority of the cast is younger, there are a few shall we say slightly more seasoned actors cast in the adult roles. Rich Moses plays Doc, the owner of the drugstore that’s home base for Tony and The Jets. While I personally have never seen Doc played with a southern accent—the show takes place in mid-century New York, after all—Moses’ Doc provides the boys with a likable and understanding authority figure. The same can’t be said for Brian Best’s tough-talking detective Schrank. Typically cast as a scene-stealing cut-up, it was a nice surprise to see Best in a grittier, albeit less lovable role. Logan Richardson’s Officer Krupke, the brunt of the boy’s tauntingly hilarious Gee, Officer Krupke might not be playing a lovable character, but judging from the response from eh crowd, the actor himself is a town favorite. Another fan favorite, Evan Reavis who plays Glad Hand, the hammy host of the potentially tense community dance. His every line was met with uproarious laughter and applause, leaving me as a first-timer at the venue feeling a little like a wallflower, as I just wasn’t in on the joke.

If there was one moment in this production that just didn’t flow, it’s the mid-Act 2 Procession and Nightmare. Not necessarily the fault on anyone associated with this production, the ballet-heavy sequence is simply difficult to pull off. For some reason, dream ballets were a staple in 1950s. From Oklahoma’s cornfield ballet and Singin’ In The Rain’s club scene to White Christmas’ oddly mod Choreography sequence, I’ve just never been a fan. These scenes attempt to incorporate stylistic dance moves bridging the gap between classical genres and musical theatre, and for me at least, rarely work. Oh, and did I mention that during this scene on Opening Night, the audience was accidentally privy to someone chatting backstage thanks to an unfortunately live mic issue.

The cast of Audience of One & Capitol Players’ “West Side Story” (photo by Michelle Hill Holt; courtesy AOO)

AOO & Capitol Players’ West Side Story, on stage with three more performances through Saturday, July 28, at the beautifully restored Capitol Theatre, (110 W. Main Street, in nearby Lebanon, TN) will have you believing in true love and have you snapping your fingers like the coolest of Jets…or is that Sharks…Whichever gang you roll with, AOO & Capitol Players’ West Side Story is a must see this weekend. Remaining shows are Friday, July 27 at 7 p.m., a Saturday, July 28 matinee at 1 p.m. and a final Saturday evening performance on the 28th at 7 p.m. Tickets are $20 for Adults and $13 for Senior Citizens and Children ages 3-11. Click Here for tickets. For more about Audience of One Productions, Click Here or follow them on Facebook, Twitter and Instagram.

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