Mystery

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

January 13, 2023 by Jonathan

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

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

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS DIRECTOR CLAY HILLWIG

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: What can you tell me about Monsieur Bouc?

ANTONIO NAPPO: He is larger than life.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

If you’ve enjoyed this latest Rapid Fire 20 Q, be sure and CLICK HERE to check out previous conversations. if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram, Twitter and Facebook.

Theatre Review: There’s something so right about ‘The Play That Goes Wrong’; National Tour onstage at TPAC’s Jackson Hall thru Sunday

October 12, 2018 by Jonathan

Members of the cast of ‘The Play That Goes Wrong’ (All Photos: Jeremy Daniel)

Described as “Monty Python meets Sherlock Holmes”, The Play That Goes Wrong is a guffaw-inducing, laugh-a-minute, play-within-a-play joy-ride of a farce that centers ‘round a fictional polytechnic school’s drama society as they present the whodunnit mystery, The Murder at Haversham Manor. Having taken London’s West End by storm, The Play That Goes Wrong is currently enjoying its Broadway debut run in New York while the touring company bumbles and stumbles across America on the show’s first US National Tour, Nashville and TPAC’s Jackson Hall being the tour’s current stop with shows thru Sunday, October 14.

From the moment patrons are handed their playbill as they enter the theatre to see a performance of The Play That Goes Wrong, it’s evident they aren’t in for an average run-of-the-mill night of theatre, for you see, even the program book seems to have had a bit of a printing mishap resulting in the cover graphic being printed slightly off-register. Then, as the audience settles into their seats, there’s a bit of a kerfuffle onstage as what appears to be tech crew members appear to be making last-minute adjustments to set pieces. Meanwhile, one of the stars of the show walks out into the audience introducing himself as the director and star while still others bustle about in search of a Duran Duran cd box set…and a dog named Winston. All this before the show technically starts.

From there, it’s two and a half-hours of pratfalls, missed cues, forgotten lines and face-hurting laughter. It’s like those clips of old Carol Burnett Show sketches in which one slight snicker amongst the actors results in an all-out uncontrollable laugh-riot for both the actors and the audience.

Reinforcing the show-within-a-show idea, a quick look at the playbill reveals two sets of information, one for The Murder at Haversham Manor, and one for The Play That Goes Wrong. The fictional bios for the drama society members, all in their touring debut, coincidentally, are hilarious and worth a read in their own right. Meanwhile, the actual cast bios reveal some very impressive credits, including at least two cast members making their return to Nashville, having previously starred in touring productions of other shows, as well as one cast member who previously appeared in the Broadway production of The Play That Goes Wrong.

Leading the cast as the aforementioned director and star of the the whodunnit is Evan Alexander Smith, who plays Chris Bean. In additional to Smith’s Bean being listed in the Murder program as director, he’s also credited as the show-within-a-show’s producer, prop maker, box office manager and about ten other behind-the-scenes crew titles. Oh, and Bean also plays Inspector Carter, who is called to Haversham to investigate a murder. As is the case when a director casts himself in a show (yes, it’s one of my actual theatrical pet peeves), wearing too many hats usually results in disaster. Smith seriousness as Bean is evident from the beginning, when Bean addresses the audience and in doing so, reveals some rather humorous facts about the company, including the budget-necessitating previous presentation of Cat (the obvious joke being they didn’t have the funds to present the better-known Cats). It them follows that Bean’s seriousness as Inspector Carter and the show’s director as the show goes wrong time and time again from the get, sets the hilarious pace for the inevitable unraveling of the show…and the cast.

With initial misplaced props and missed cues, Smith’s Bean barely flinches as the powers through, but when a later scene calls for him to find ledger tucked in the cushions of a chaise lounge…or should I say…chaise longue…but I digress….anyway, the ledger isn’t where it’s supposed to be and Bean’s boiling-point is reached, to hilarious result. As if they knew exactly what to do, an audience member shouts out, “It’s under the chaise lounge”. Smith’s Bean breaks the fourth wall, chastises the audience for laughing and suggests perhaps they’d be better suited to be at a Honky Tonk, or perhaps, The Grand Ole Opry– – -two Nashville-centric entertainment options – – -which, of course, only results in more laughter and thunderous applause from the audience for the clever inclusion of a bit of local flavor from the touring company. One joke, about Hamilton, however, might not play as well in Nashville as it does across the country, seeing as how Nashville audiences will have to wait another season for tickets to that hot item.

Smith as Bean is just the tip of the iceberg…YES, I use that reference purposely, because the show, with it’s cleverly choreographed and write mishaps appears to sink quicker than the Titanic, but to blissfully, purposeful results.

Scott Cote, last seen by TPAC audiences as Brother Jeremiah in last year’s national tour of Something Rotten, is hilarious as Dennis Tyde. His fictitious Murder cast bio indicates he’s new to acting, having only joined the Drama Society after failing tryouts in a number of sports. In Murder, Cote’s Dennis is cast as Perkins, the butler. I know what you’re thinking…and while I did indeed as Cote is the butler did it when I interviewed him for my most recent Rapid Fire 20 Q, I cannot include his response as a Spoiler Alert here. What I can tell you is Cote’s Dennis is the epitome of the newbie thespian. He garners his biggest laughs from the audience when he no-so-casually glances at his hands where he’s evidently scribbled certain words of dialogue he has trouble pronouncing, then proceeds to mispronounce them anyway.

Ned Noyes and Scott Cote in ‘The Play That Goes Wrong’

Ned Noyes , who was part of Broadway’s The Play That Goes Wrong prior to being cast in the touring company, is scene-stealing as Max Bennett who plays Cecil Haversham, owner of the manor house in which the murder occurs. Early on, when Cecil goofs a line and gets a bigger response from the audience that had he executed the line perfectly, Noyes’ Bennett begins to over exaggerate his delivery as Cecil, thus receiving even bigger laughs. Being a huge fan of Lucille Ball (no secret to anyone who knows me), this reminded me of the classic comedy legend whenever her Lucy Ricardo character would goof onstage at Ricky’s nightclub. The bigger the audience response, the bigger the delivery of each subsequent line. My face truly began to hurt from laughing so much whoever Noyes was onstage opening night.

Peyton Crim portrays Robert Grove. His fictional bio references such roles as Lame Horse in Black Beauty and Dopey in Show White and The Tall Broad Gentleman. Crim’s Grove sees himself as one of the show’s more serious actors. in Murder, Grove is cast as Thomas Colleymoore, prime suspect in the murder of his sister’s intended, who’s got a bit of a secret himself. In spite of Grove’s serious nature, or perhaps because of it, the physical comedy his character endures as the set literally begins to fall apart, is all the more enjoyable for the audience. My companion for opening night in Nashville commented during one of Crim’s more physically demanding scenes that insurance for The Play That Goes Wrong must be astronomical. I suspect she’s right.

Brandon J. Ellis is subtly wonderful as sound tech, Trevor Watson. His fictional bio reveals he’s only part of The Murder at Haversham Manor to fulfill a requirement for an engineering course. During the entire show, Ellis’ Watson is seen to the left of the stage at his light and sound board. Frequently nodding off or otherwise distracted by his cellphone, Watson misses light and sound cues, only adding to the hilarity onstage, but nothing’s funnier than when Ellis’ Watson is forced on-stage to step into the role of Murder’s female lead when both she and the stage manager-unplanned understudy are knocked out cold.

Jamie Ann Romero being hoisted out the window by members of the cast of ‘The Play That Goes Wrong’

Speaking of the female lead and the stage manger, Jamie Ann Romero and Angela Grovey portray those roles respectively. Romero plays Sandra Wilkinson. Wilkinson’s Murder bio indicates she’s the company’s most experienced member, having been with the company eleven seasons. Romero, as Wilkinson, plays Florence Colleymoore, the above-mentioned fiancee to the murder victim. Romero’s Wilkinson is played with diva-like disdain for her fellow cast mates, but when things go awry, Romero shines as she exhibits simply astonishing physicality.

Part of that physicality comes courtesy a bit of rivalry between Murder’s leading lady and the only other female in the company, Angela Grovey as Annie Twilloil, the company’s stage manager. Grovey, like her co-star, Cote, is also making a return to TPAC’s stage, having previously played Medda in the first national tour of Disney’s Newsies. As stage manger Annie, Grovey seems to be the glue that holds the company together. Annie’s fictional Murder bio backs this up, siting that after Murder, she’ll leave the company to intern with the Oregon Shakespeare Festival. Throughout the show Annie can be seen—much to her horror—racing onstage to grab a falling piece of the set or place a forgotten prop, but when the show’s leading lady gets knocked out, Annie gets a taste of the spotlight and even though she’s reading her lines from a binder, it’s obvious she’s enjoying her time in the spotlight, for when the leading lady reemerges its a battle of the Florences with both actresses reciting their lines in unison until they literally push each other out the set’s window. While these two have limited stage time, compared to some of the show’s other cast members, when they’re on…THEY ARE ON. When I chatted with Grovey for my recent Rapid Fire 20 Q, I asked her about her on-stage rivalry with Romero, and their backstage friendship. For her response, check out the interview via the hyperlink above.

Rounding out the cast is Yaegel T. Welch, as Jonathan Harris as murder victim, Charles Haversham. His fictitious bio reveals a recent career switch from model to actor, perfect for a character who’s dead to begin with. As the curtain rises on the show, Welch’s Harris isn’t quite on his mark, making it even funnier that the corpse is moving. When cast members step on his hand, he moves, eliciting uproarious laughter form the audience. Offering a bit of unintentional foreshadowing to Charles’ undead state, he frequently shows up throughout the play uttering a line whose time has not yet come and whenever he realizes his mistake, he quickly folds his arms across his chest a la Lily Munster and backs his way off the stage. Simply hilarious. Besides, he’s playing a character named Jonathan Harris, so you KNOW I gotta love that (what else did you think the JH in JHPEntertainment stood for?)

To say that’s the entire cast is a bit inaccurate, for you see, Nigel Hook’s set, which won the Tony Award for the show’s current Broadway run, is as much a character and integral part of the show as any of the actors. The ridiculously clever and technically intricate set mishaps—what with it’s falling wall sconces, crashing portraits, broken mantlepieces, combusting elevator and a collapsing second story study—enhance the slapstick, pratfalls and goofs throughout. While the dialogue and mishaps themselves would indeed be humorous to witness, thanks to a more-than clever story written by Henry Lewis, Jonathan Sayer and Henry Shields, as directed by Matt DiCarlo, the added visual of the deterioration of the set as the cast themselves descend into disaster is amplified a thousand times by Hook’s brilliant set design and this company of actors who are secure enough in their comedic craft to make playing a troupe of inept thespians seem effortless.

While this review can only attempt to convey the unbridled hilarity, you truly must see it to fully appreciate the true brilliance of the show, its physical humor and the impeccably timed delivery. For a real testament to the show’s creative genius, just go up to anyone who’s seen The Show That Goes Wrong, and repeat lines like “I’m taking the stairs”, “She’s having an episode” or the simple words “ledger” and ‘cyanide”. The resulting grins, snickers and spontaneous laughter are proof positive The Show That Goes Wrong is indeed the show that goes oh so right as far as a great time enjoying a night out at the theatre is concerned.

The National Touring company of The Play That Goes Wrong continues at TPAC’s Jackson Hall with shows thru Sunday, October 14. Friday and Saturday evening performances at 8 p.m. There’s also a Saturday matinee at 2 p.m. and Sunday performances at 1 p.m. and 6:30 p.m. Tickets to The Play That Goes Wrong range in price from $30 to $90. CLICK HERE for tickets or more information.

Not in Nashville, but interested in seeing The Play That Goes Wrong? Follow the show on social media at the official The Play That Goes Wrong site HERE, or on Facebook, Instagram and Twitter.

Following The Play That Goes Wrong, TPAC’s current Broadway Season continues with a return engagement of The Phantom of The Opera, playing Jackson Hall October 24-November 4. CLICK HERE for tickets or for more information.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Rapid Fire 20 Q with cast members from ‘The Play That Goes Wrong’; National Tour at TPAC October 9-14

October 8, 2018 by Jonathan

The cast of ‘The Play That Goes Wrong’; National Tour at TPAC’s Jackson Hall beginning Tuesday (photo: Jeremy Daniel)

Typically, in order to see a Broadway show during its debut run, audiences must make the trek to New York City, but that’s not exactly the case with Broadway’s current farcical hit, The Play That Goes Wrong. While the Broadway production continues its premiere run through January of next year, a concurrent production of the show recently set out on a National Tour. As the touring company prepared to head to TPAC’s Jackson Hall for the Nashville leg of the tour, I recently had an opportunity to chat with two members of the cast for the latest installment of my recurring interview feature, Rapid Fire 20 Q. While researching to chat with stars Scott Cote and Angela Grovey, I discovered they each had ties to Music City, both having played Nashville while part of previous national touring companies, and one having even co-starred with country music’s favorite daughter. So, while the Play might go wrong, I knew the interviews would go just right.

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Angela Grovey and Scott Cote during one of many side-splitting scenes in ‘The Play That Goes Wrong’ (Photo: Jeremy Daniel)

RAPID FIRE 20 Q WITH THE PLAY THAT GOES WRONG STARS SCOTT COTE AND ANGELA GROVEY

RAPID FIRE WITH ANGELA GROVEY, ANNIE IN THE PLAY THAT GOES WRONG

JONATHAN H. PINKERTON: Alright, I just have to start by asking about your recent Broadway stint in Jimmy Buffett’s Escape to Margaritaville since you shared the stage with Eric Petersen in that show. I met Eric when he toured with Shrek. What’s your favorite memory of being on Broadway in that show?

ANGELA GROVEY: I had a blast doing Escape to Margaritaville and singing some of Jimmy’s music. Occasionally Jimmy would join us during bows and we’d watch the crowd go NUTS. On our closing night Jimmy joined us for bows and sang to the crowd and then did Lovely Cruise for the company of Escape to Margaritaville. It was very special because that moment reflected the love and respect we each shared for each other and the show. It’s something I will cherish always.

JHP: You know, we have a Jimmy Buffett’s Margaritaville restaurant in Nashville, located on our Broadway (instead of theatres, we have honky-tonks, go figure!)…if time permits, do you plan to sight-see while in Music City?

ANGELA GROVEY: I am a HUGE fan of the music scene in Nashville and I’m a southern girl so I will, without question, be visiting some places down Broadway and Music Row. One of the gifts that comes with touring is we get to be a working tourist for a week. I’m looking forward to my week in Nashville.

JHP: Speaking of Broadway, The Play That Goes Wrong is simultaneously playing the other Broadway and on tour. How exciting to be offering folks across the country the chance to see a show that’s still enjoying its initial Broadway run?

ANGELA GROVEY: I’m thrilled that a PLAY is touring and we get to be the “first” play for people.
This play is HILARIOUS and to be able to be spreading laughter around this country warms my heart.

Angela Grovey as Annie in ‘The Play That Goes Wrong’ (Photo: Jeremy Daniel)

JHP: What can you tell me about Annie?

ANGELA GROVEY: Annie is the American stage manager of the Drama Society. It’s her 3rd year working with the company and looks forward to her time with this particular company. Annie is in charge of all things that happen on the stage and takes great joy is being the best at any job she does.

JHP: I understand there’s a little All About Eve element between Annie and Sandra, the female lead. How much fun is that rivalry to play?

ANGELA GROVEY: It’s great fun!!! We as actors are always looking for the “conflict” and Annie’s “conflict” switches mid show to Sandra.

JHP: Jamie Ann Romero plays Sandra. While you’ve only just started the tour, how have you ladies bonded offstage thus far?

ANGELA GROVEY: Jamie and I happen to have the same agents in New York City so we have had many opportunities to get to know each other professionally and on a personal level. We recently got manicures and pedicures together in Greenville and decided that we MUST make this a tradition. I know we just started the tour but it was very apparent while rehearsing that we have an AMAZING group of humans on this tour.

JHP: Has playing a stage manager given you a deeper appreciation for The Play That Goes Wrong’s actual crew?

ANGELA GROVEY: My first tour with Disney’s Newsies reminded me that the actors are only one part of the puzzle that must come together to put on a show. Fun fact- my production stage manager from Newsies is my production stage manager for The Play That Goes Wrong. I have carried that respect with me into my life practices. The Play That Goes Wrong Tour is top notch. And—especially with this show—we as actors could not do what we do without our crew.

JHP: Seeing as how The Play That Goes Wrong is a farce, and a theatrical show within a show farce at that, you and the rest of the cast are tasked with intentionally over-acting and basically playing bad actors. How fun/challenging is that?

ANGELA GROVEY: I have a very fun challenge with Annie because i am an actor playing a stage manager, forced into a stage managers WORST nightmare.

JHP: The set for The Play That Goes Wrong, designed by Nigel Hook, is Tony-winning. What’s your favorite aspect of the set?

ANGELA GROVEY: I can’t say I have just one favorite. The design is well deserving of the Tony Award. When I first saw the show in NYC I was shocked at the set, now I get to see how it all works and I’m still amazed.

JHP: Because I’m a total dork, when I saw the cast list for The Play That Goes Wrong, I recognized you from your appearance in the 2012 film, Joyful Noise, which starred Queen Latifah and Dolly…so beloved here in Music City, she needs no last name. Gonna see Dolly while you’re in Nashville?

ANGELA GROVEY: I will definitely reach out and say ‘Hello’ while I’m in Nashville, but Dolly is one of the hardest working women, so I don’t know if I’ll see her. But if I do see her I’ll try not to gasp as loudly as I did when I first met her.

RAPID FIRE WITH SCOTT COTE, DENNIS IN THE PLAY THAT GOES WRONG

JONATHAN H. PINKERTON: If memory serves me, weren’t you just in Nashville about a year ago while touring with Something Rotten?
SCOTT COTE: Yes, that is correct. I played Brother Jeremiah in that production.

JHP: Since you’ve been in Nashville before, anything you plan to revisit and share about Music City with your fellow The Play That Goes Wrong cast mates?
SCOTT COTE: I plan to visit the Country Music Hall of Fame again. I also loved strolling down Broadway and hearing the music from all the different honky tonks.

JHP: From what I know about The Play That Goes Wrong, it’s a bit of a mashup between Monty Python-esque outrageous humor, with a good dose of Sherlock Holmes mystery thrown in. How else would you describe the show?
SCOTT COTE: That is exactly how I describe the show to people so you hit the nail right on the head. People should just plan on laughing for 2 hours from start to finish.

JHP: I’ve also heard comparisons (at least the intended mystery aspect of the play within the play, to a good ole Agatha Christie. Just so happens, I just returned from being on holiday in Portugal. While away, I re-read Christie’s Hercule Poirot mystery, Death in The Clouds as I was composing questions for this interview. Were you ever a fan of books or film adaptations by Sir Arthur Conan Doyle or Christie?
SCOTT COTE: Oh yes. In high school we read Sherlock Holmes and And Then There Were None. I enjoy a good mystery novel from time to time.

Ned Noyes and Scott Cote in ‘The Play That Goes Wrong’ (Photo: Jeremy Daniel)

JHP: Seeming to draw inspiration from, or—pay homage to—Noises Off, The Play That Goes Wrong is a play within a play. Given that, you’re cast not only as Dennis, a bit of an amateur thespian, but, in the murder mystery, the butler. What are your favorite characteristics of Dennis…and his portrayal of the butler?
SCOTT COTE: I love his earnestness and his wanting to do a good job so the rest of the cast will like him. When he does fail at something, it really bothers him and he thinks he’s ruined the play. It’s fun to try and play that on stage every night.

JHP: Simultaneously on Broadway and on tour, among the show’s producers is JJ Abrams…so, how are you plotting to parlay that into future acting roles for the popular producer?
SCOTT COTE: I’m just going to keep doing my job and hopefully JJ will have one of his many friends in the business come to see the show and want to use me in one of their future productions. I’ll gladly play a Storm Trooper in the next installment of Star Wars!!

JHP: The National Tour only just launched in September. What’s the energy like being part of a brand new touring company?
SCOTT COTE: The energy level is pretty high right now. We are all having a great time. For a few people in the cast this is their first time touring so it’s been fun teaching them the ropes of touring. Where to eat, what to do, what hotel to stay in. etc.

JHP: Based in what you remember from having played Nashville’s TPAC last year, do you think Music City audiences will embrace The Play That Goes Wrong?
SCOTT COTE: I sure hope they do. If they loved Something Rotten last year, I think they will equally love this play. Its 2 hours of non stop laughter!! Who wouldn’t like that?

JHP: Matt DiCarlo is directing the touring production. What he like as a director?
SCOTT COTE: He’s a great collaborator! He knows this show like that back of his hand, but he is so willing and open to our ideas for our characters. He would let us play and find things and then would just tighten moments that needed tightening. He trusts us all.

JHP: Dang…One last question…OK, so you play the butler in a murder mystery…just between us…did the butler do it?
SCOTT COTE: Well you’ll just have to come see the show to found that out. 🙂

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‘The Play That Goes Wrong’; at TPAC October 9-14 (Photo: Jeremy Daniel)

While Scott remained mum about whodunnit, Nashville audiences will have eight chances to figure it out—and have a hilarious time doing so—when The Play That Goes Wrong sets up shop at TPAC’s Jackson Hall with shows from Tuesday, October 9-Sunday, October 14. Evening performances Tuesday-Thursday begin at 7:30 p.m. with Friday and Saturday evening performances at 8 p.m. There’s also a Saturday matinee at 2 p.m. and Sunday performances at 1 p.m. and 6:30 p.m. Tickets to The Play That Goes Wrong range in price from $30 to $90. CLICK HERE for tickets or more information.