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Theatre Review: Don’t Piss off God, Go See Nashville Rep’s ‘The Color Purple’, A Majestic Celebration of the Importance of Self

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Before some folks get all bent out of shape, that headline is a nod to one of the most famous lines from Alice Walker’s emotional novel, The Color Purple, in which juke-joint singer Shug Avery says, “I think it pisses God off if you walk by the color purple in a field somewhere and don’t notice it. Thanks to Nashville Repertory Theatre’s moving presentation of the musical based on Walker’s novel, you can’t help but notice the brilliance and beauty of the work.

As I mentioned in my recent double-shot Rapid Fire 20Qs featuring Nashville Rep’s The Color Purple guest director Reggie Law and seven primary members of the cast, I’ve been a fan of the 1982 Pulitzer Prize-winning source material since first read it when I was in high school. The subsequent Spielberg-directed film adaptation, the Tony-winning 2005 Broadway musical and 2023’s musical film rejuvenating my love of the story time and time again. Directed by Law and featuring a truly star-filled cast headed by Carli Hardon, Nashville Repertory Theatre’s The Color Purple continues that legacy, reminding us all that there’s beauty in everything…and everyone, you just have to take the time to notice it.

When the curtain rose on Opening Night of Nashville Rep’s The Color Purple, I was immediately struck by the starkness of the set. Director Law, scenic director, Joonhee Park and lighting designer Dalton Hamilton obviously opted for a minimalist approach in that the set consists seemingly simply of a massive wall constructed of wooden beams spaced just far enough apart to allow light to filter in. I say seemly simple, because it’s ultimately effective, especially when a multitude of hues of light are used at various times to seamlessly convey emotion appropriate for each scene.

As Celie, the story’s downtrodden central character, Carli Hardon doesn’t waste any time drawing the audience in with her multifaceted portrayal. In fact, for the first time since seeing The Color Purple musical nearly twenty years ago, I actually heard this song. I mean I really heard it. Aided by Maya Riley, one of the Nashville theatre community’s brightest rising stars as Celie’s sister, Nettie. The duo of Celie and Nettie set the pace for the entire show with the elementary, but theme-establishing Huckleberry Pie. A quick singsongy nursery rhyme of a tune Huckleberry Pie gives the audience the first glimpse of the overall message of hope for better things to come with the simple lyric, “Sure ‘nuf sun gon’ shine, Gon’ be grown ladies of the marryin’ kind. Sure ‘nun moon gon rise, like a huckleberry pie in the middle of the sky.”

During this opening sequence I was immediately moved by these lyrics like never before. Here are two young Black girls dealing with unspeakable struggles, but who nevertheless keep focusing on the positive…the future. Yes, these themes from a novel written some forty years ago, about a time in history a century ago are still prevalent today and are key to why this story still resonates. And Yes, minutes in and my eyes were already sweating. I was also struck by both Hardon and Riley’s physicality in this scene. Both actress, though young in real life, completely transformed themselves by their movement, their speech patterns and expressions, into young girls, young sisters.

Then comes the entire company for Mysterious Ways, a hymn of a song, set in the local church (effectively indicated as such by a singular light source casting the shape of a illuminated cross onto the wall behind the action) where the entire community sings of God watching over them no matter. Nia Safari Banks’ costumes are a highlight of this number, for if you’ve ever had the great fortune to attend a Black Church, you KNOW the way you present yourself before the Lord IN the Lord’s House is of utmost importance! Which leads me to the Church Ladies, Darlene, Doris and Jarene, a snooping, truth-tellin’ trio who pop up now and again throughout the show to fill the audience in on the latest happening. Lindsay Kay Pace, Yolanda Treece and Meggan Utech a divine trio indeed as the Church Ladies. Characters I know all too well, for you see, growing up, there were two ladies in the church my family attended who I lovingly referred to as my very own ‘Church Ladies’. They were always there to stick their noses in and offer advice, unsolicited though it may have been. I can’t be the only one who kind of wishes Pace, Treece and Utech would develop their own show around these three characters. Not only do they provide intel, but plenty of smiles as the absurdity of their insertion into every situation.

Giving the Church Ladies something to talk about…enter Mister, as played by Elliott Winston Robinson. As Robinson alluded in my Rapid Fire 20Q, Mister is a chance for the every-smiling, always kind and friendly Robinson to play against type. Mister is just mean, and Robinson approaches the role with perfectly menacing aplomb. Those familiar with the story know that Mister initially has designs on the younger Nettie, but settles for Celie. Then vengefully vows to separate the two sisters forever. Physically torn apart, Nettie promises to write her sister every day. Law’s extraordinary acumen as a director is never more evident that in his choices during the scene when Mister tells Celie she is never to go near the mailbox. I won’t spoil it here, but y’all! I didn’t know I was gonna need to invest in Kleenex for this entire show.

The Color Purple is peppered throughout with memorable moments courtesy music and lyrics by Brenda Russell, Allie Willis and Stephen Bray and book by Marsha Norman. The aforementioned Church Ladies being a prime example. There’s another trio worth watching, as well. Ensemble members Justin Boyd, Jaylan Downes and Richard J. Harrison Jr. as field workers remind Celie that Mister is the boss during the pounding Big Dog number, Joi Ware’s choreography herein, a strong nod the the original Broadway presentation.

Speaking of memorable men, Gerold Oliver is just sooooo good as Harpo, Mister’s ne’er do well son. He get’s his moment to really shine alongside the men during Brown Betty, a song praising the beauty of Black women, Raven Buntyn’s Squeak, in particular. Speaking of Squeak, thank goodness Buntyn vocally pays homage to the character’s name by occasionally hitting a pitch so high that she actually squeaks when she talks, something the recent film adaptation opted not the do. I also loved the quick pop-in appearances by some of the female ensemble during this one, too. Oliver’s Harpo offers not only comedic levity from time to time, but also becomes the first man in the story to break the cycle of violence towards women.

Of course Harpo has a bit of assistance in breaking that cycle in the form of his no-bullshit-taking wife, Sofia, played to the absolute hilt by the gloriously talented Shinnerie Jackson. It was everything I could do to remain in my seat at the end of her anthemic Hell No number. The thunderous applause that followed was evidence I was not alone in my appreciation of the number and Jackson’s performance. Cause here the thing, Jackson’s portrayal of Sofia hits all the notes, not just musically, but emotionally. When she’s strong and defiant, the audience feels that defiance and empowering presence. When Sofia is temporarily defeated, we feel that too. An exemplary performance all ‘round!

A little over midway through Act 1 and it’s time for another of my favorite musical moments, Shug Avery Comin’ to Town’ it’s an all-in for the entire company. Law’s direction, Ware’s choreography and the show’s musical director, Dion Treece, along with the entire company pull out all the stops for this one, creating the perfect buzz befitting the arrival of Tamica Nicole as Shug Avery, the singer who opens up a whole new world to Celie, and in the process teaches Celie that she’s worthy the happiness she longs for. To that end, Too Beautiful for Words is…just that! Nicole’s approach to Shug is stronger than any I’ve seen in other theatrical performances of the musical. Frequently portrayed a little too drunk, a little too messy, Nicole’s Shug has a strength that’s palpable. Her confidence in the role makes it all the more evident why Celie should fall under her spell, as we all do.

Nicole continues to command the spotlight with Push Da Button another all-in up-tempo number. If Mysterious Ways exemplifies the relationship the Black community has with God, Push Da Button provides the other end of the spectrum. With The Color Purple set in the South of the early-to-mid 1900s, Push Da Button serves to remind us that those who work hard deserve to play hard. It’s a sexy, rollicking good time. If only Shug’s wardrobe for the number matched the excitement. Yes, that is my one and only slight disappointment with the entire show. I was just hoping for a show-stopping BAM! of an outfit for this one number. But again, when the material and the performances bring it, a minor thing like a missed wardrobe opportunity is insignificant.

The chemistry between Nicole’s Shug and Hardon’s Celie is simply magical. You truly believe these two women have discovered a love and bond like never before.The progression of this relationship is perfidy paced and played out not doubt by way of the director’s precise instruction, but also these two actors’ understanding a care for the characters.

In the same way, when Nettie returns, there’s an overwhelming joy that radiates from the actors through the entire theatre when Riley’s Nettie returns near show’s end to reunite with Hardon’s Celie. Dressed in patterned African clothes, Nettie looks regal indeed. Again, I was struck by her mannerisms, posture and way of speaking, all extraordinarily representing the passage of time and aging of her character. Just another reminder of the top-notch theatrical experiences you can always count on Nashville Repertory Theatre to provide.

The heartache, troubles, triumphs, joy and love examined and presented throughout The Color Purple are the heartbeat of the piece. So do your spirit a favor and go see this masterful example of theatrical bliss while you can.

Nashville Rep’s The Color Purple continues at TPAC’s Polk Theatre through Sunday, April 14. CLICK HERE for tickets. In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

In case you missed my TWO Rapid Fire 20Q interviews with the director and cast, CLICK HERE…and HERE to check them out!

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 20Q (2 of 2) with cast and director of Nashville Rep’s ‘The Color Purple’ onstage at TPAC’s Polk Theatre April 5-14

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As I indicated in my first Rapid Fire 20Q featuring the director and cast of Nashville Repertory Theatre announced that The Color Purple, I’m such a fan of the show that I decided to go all in and do two Rapid Fire 20Qs to feature as many cast members as I could. Hey, my name’s on the site, so I can do what I want, right? So…here’s Part 2 of my conversations with the cast of The Color Purple. This time around, I’m chatting with Shinnerrie Jackson (Sofia), Elliott Winston Robinson (Mister), Raven Buntyn (Squeak) and Gerold Oliver (Harpo). In case you missed Part 1, CLICK HERE to check out my chats with The Color Purple’s director, Reggie Law as well as Carli Hardon (Celie), Tamica Nicole (Shug) and  Maya Riley (Nettie). Nashville Rep’s The Color Purple opens at TPAC’s Polk Theatre for performances Friday, April 5 thru Sunday, April 14.

RAPID FIRE 20Q WITH CAST OF NASHVILLE REP’S THE COLOR PURPLE (2 of 2)

RAPID FIRE WITH THE COLOR PURPLE’s SOFIA, SHINNERRIE JACKSON

JHPENTERTAINMENT: Before we talk The Color Purple, while researching to chat with you, I learned you are an Assistant Professor of Theatre at UT Knoxville, and you’re also a company member of Knoxville’s Clarence Brown Theatre. Because I truly love connecting the dots when folks I know, know folks I know, I’m gonna name drop…I’ve known Carol Mayo Jenkins for ages. She is the cousin of one of my dearest friends. Carol was Artist in Residence at UTK until her recent retirement. Do you have a favorite memory of working alongside the legendary actress?

SHINNERRIE JACKSON:  She taught me how to live in the truth of who I am and to be grand. I never thought of myself as grand and she gave me that lesson during a scene she taught from Heartbreak House (Shaw play). She is a phenomenal actress and teacher. I’m still learning from her.  

JHPENTERTAINMENT: You play Sofia in Nashville Rep’s The Color Purple. When I spoke with Carli, I mentioned the impressive list of actresses associated with her role. The same can be said of Sofia. From Oprah to my friend Pam Trotter, Miss Sofia is without a doubt one of the most memorable characters ever to grace the pages of a book, the stage and screen. Would you consider Sofia a ‘bucket list’ role?

SHINNERRIE JACKSON: Yes! I’ve wanted to play this version of Sofia since Felicia P. Fields originated the role in 2005. I was just waiting for my regional theatre turn. I audtioned for NashRep last year and thought it would pass me by, but fate had other plans and here I am!

JHPENTERTAINMENT: Like many of the characters in The Color Purple, Sofia undergoes a transformation. Is there an aspect of Sofia and her transformation that you might consider adopting in your own life long after the show closes?

SHINNERRIE JACKSON: I think we all love Sofia because, despite the difficult systemic violence she’s forced to endure, Sofia is able to come back to herself. Her inner strength, her love and her joy. That’s the lesson for me. 

JHPENTERTAINMENT: A catalyst for the above-mentioned transformation is Sofia finally having enough of certain situations. How do you prepare for the seriousness of such scenes?

SHINNERRIE JACKSON: The script and the book (by Alice Walker) give you everything you need. As soon as the words come out of my mouth the feeling and her personality is there, the words are that powerful. I just have to maintain my stamina throughout the run. I also am invoking the spirit of my grandmother Ernestine Jackson, a woman who never let the violence of the system deter her from her dreams. 

JHPENTERTAINMENT: We touched on your Knoxville connections. Of course The Color Purple’s director, Reggie Law also hails from Knoxville as does Nashville Rep’s Artistic Director, Micah-Shane Brewer. Did one of them reach out to you and urge you to audition?

SHINNERRIE JACKSON: While it has been great to work with Reggie Law, my direct connection is with Micha-Shane Brewer. We are both alumns of the MFA program at The University of Tennessee. I saw the advert for auditions and here I am.

RAPID FIRE WITH THE COLOR PURPLE’s MISTER, ELLIOTT WINSTON ROBINSON

JHPENTERTAINMENT: How would you describe Mister, the role you are playing in Nashville Rep’s The Color Purple?

ELLIOTT WINSTON ROBINSON: It will be evident fairly quickly how horrible a person Mister is when you see the show. My challenge in portraying him is to figure out why he is this way, so I can make choices on stage that show the audience very clearly who he is. Mister is the kind of man that wants to project this great sense of strength & dominance, but he is really not very strong at all; he is just a big ol’ bully. I don’t want to give too much away, but when the people he rules over begin to question his power (Celie, Harpo), even they start to realize what the real man is all about.

JHPENTERTAINMENT: Doing a little digging prior to chatting with you, I discovered this is your Nashville Rep mainstage debut. Not gonna lie, that factoid was a huge surprise to me, as I consider you to be one of Nashville’s most gifted actors. While it’s your Rep mainstage debut, you indeed wowed audiences as part of Nashville Rep’s recent stage reading Narrative of the Life of Cedric Bartholomew. What was the experience of bringing that story to life for Nashville audiences?  

ELLIOTT WINSTON ROBINSON: Thank you, Sir, for the kind words; that means a lot! Yes, it’s my first time for the mainstage. I was welcomed into the REP family at last summer’s Broadway Brunch, then had the pleasure of being involved in REPAloud readings of The Christians and Stick Fly, as well as The Narrative of the Life of Cedric Bartholomew, in the New Works Series. Bartholomew was so powerful because it was new, but also because of the incredibly rich historical nature of the story. The process was amazing; having the dramaturg and the writer in the room while we dug into the script was fantastic! We were able to really get deep into the language, and the history. The performances were great, too, but the process was so fast, I still had questions about the story and my character even after we finished the public readings.

JHPENTERTAINMENT: During the rehearsal process, did your director, Reggie Law offer any notes on finding your Mister?

ELLIOTT WINSTON ROBINSON: Reggie has been the greatest! He detected my nice, easy-going nature very early on (many people who know me wonder how I’ll possibly be able to play this role!), so he has [gently] pushed me and pushed me to commit to being Mister. He is my favorite kind of director, the one that will pull you aside from time to time just to give you another subtle layer to think about while building your character, encouraging all the while. I have seen him do it with each and every cast member! I feel like that keeps me more and more invested in the role, knowing he has confidence in me to make the character come to life.

JHPENTERTAINMENT: And now to be taking on the role of Mister in The Color Purple. I imagine the anger and violence exhibited by Mister would be difficult to play night after night. How do you prepare for those scenes and do you need time to compress after such a daunting performance?

ELLIOTT WINSTON ROBINSON: There are definitely some very difficult moments, none that I’ll give away here. But, like I’ve done with other characters before (Troy Maxson in FENCES comes to mind), I’m pretty good about NOT taking Mister home with me. I know who Elliott is, and the rest of the cast understands the kind of person I am. They are very influential in propping me up, encouraging me to be as Mister as Mister can be. Only on stage, though!

JHPENTERTAINMENT: Mister isn’t all anger and rage. He has his lighter moment’s too. How much are you enjoying playing opposite Carli Hardon, specifically during the Miss Celie’s Pants segment?

ELLIOTT WINSTON ROBINSON: Carli is absolutely amazing as Celie! She weathers this terrible storm of a relationship, but when she starts to realize her self-worth and her value, she confidently gives back just as much as she takes. We have a few really powerful moments on stage, and she’s great at pushing me to create more and more tension in those moments. Again, I don’t want to give away too much, but those “lighter” moments come after Mister makes a stark realization about himself, one that changes the entire course of his life.

RAPID FIRE WITH THE COLOR PURPLE’S SQUEAK, RAVEN BYNTYN

JHPENTERTAINMENT: Your portrayal of Squeak in Nashville Rep’s The Color Purple marks not only your return to the stage after a ten-year hiatus, but also your Nashville Rep debut. What prompted you to audition for this show?

RAVEN BUNTYN: My love for the original movie is what prompted me to audition. I grew up watching The Color Purple nonstop with my grandmother when she didn’t have cable. It taught me life lessons and was filled with so much beauty. That movie helped shape me in ways I’m still learning about today. It’s very dear to my heart. 

JHPENTERTAINMENT: Are you enjoying your time with Nashville Rep?

RAVEN BUNTYN: Absolutely! It’s been so much fun being apart of this show. It’s not everyday that I get to be around people who love to burst into random song and dance as much as I do. It’s so refreshing! 

JHPENTERTAINMENT: Squeak might have limited stage time, but she’s certainly memorable. Who is Squeak to you?

RAVEN BUNTYN: Squeak is a rebel! She’s loud and slightly annoying but full of heart and passion. She really just wants to be loved and seen.

JHPENTERTAINMENT: Quite often, when a character doesn’t get a lot of exposition within the contest of the play, I find that actors frequently create their own backstories as they delve into the character. Have you done this with Squeak?

RAVEN BUNTYN: Squeak has always had a secret desire to sing, she emulates the likes of Shug Avery and wants to be a star. Her father walked out on her and her mother when she was very young, but her mother never failed to instill confidence in Squeak. And even though she’s very naive and inexperienced, because of her mother’s love, she won’t let anyone walk all over her.

JHPENTERTAINMENT: I love the scenes when Squeak asserts herself with Sofia. How much fun are you having in this scenes?

RAVEN BUNTYN: That is my absolute favorite scene! I get to be boisterous and tap into Squeak’s fire. Squeak may not be the one to beat Sophia but she still stands up for herself and I love that about her. 

RAPID FIRE WITH THE COLOR PURPLE’S HARPO, GEROLD OLIVER

JHPENTERTAINMENT: How would you describe Harpo, the role you play in Nashville Rep’s The Color Purple?

GEROLD OLIVER: Harpo was thrust in to a cycle of violent lifestyles. Men in that time period were innately rougher, due to the conditions they grew up with. Harpo is doing his best to slip past the tendency to fall into the same behavior perpetuated by that cycle, but that isn’t to say he’s an unflawed character.

JHPENTERTAINMENT: I read The Color Purple when the book first came out, and of course I was obsessed with the original film adaptation. When do you first recall being cognizant of The Color Purple?

GEROLD OLIVER: I was young when I first saw the original film, albeit I didn’t watch the film in its entirety until I was much older. It wasn’t until I was a young adult that I was made aware that there was a novel from which the film was based.

JHPENTERTAINMENT: What’s it like having Elliott Winston Robinson play your on-stage father?

GEROLD OLIVER: Elliot is a really nice dude in real life. I’ve been lucky enough to have shared the stage with him before. It’s been a fun experience watching him push to find the places he has to go to so he can honestly portray a dark character such as Mister.

JHPENTERTAINMENT: Harpo seems trapped between being bullied by his father and longing to be assertive in his relationships with Sofia and Squeak. How have you tapped into those emotions and what have you learned during the process?

GEROLD OLIVER: Harpo is lost throughout the play. He’s lost because he grew up watching a very poor representation of what marriage should look like. Though I’ve not been exactly where Harpo is, I have been lost due to the dissonance between expectations of what life should be vs what life truly is.

JHPENTERTAINMENT: Over the last few years, you’ve been a frequent presence in the Nashville theatre community, having done shows at virtually every major theatre company. Any advice for those considering auditioning in and around the Nashville area?

GEROLD OLIVER: A good attitude and a friendly demeanor will get you in far more rooms than mountains of talent. That’s not to say, slack off and goof around. Do your work, and try to enter the space ready to play. Things will usually happen fo you.

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Nashville Rep’s The Color Purple opens at TPAC’s Polk Theatre Friday, April 5. CLICK HERE for tickets. The beloved musical based on Alice Walker’s classic novel will run April 5-14.  In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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 20Q with cast and director of Nashville Rep’s ‘The Color Purple’ onstage at TPAC’s Polk Theatre April 5-14

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Last year when Nashville Repertory Theatre announced that The Color Purple would be part of their 2023-2024 Season, Alice Walker’s original source material being not only one of my absolute favorite books, but also completely being mesmerized and touched each time I’ve seen the original Steven Spielberg film adaptation and the incredibly moving Tony-winning stage musical, I knew I’d have to chat with members of their cast and crew for one of my Rapid Fire 20Q interview features. When I learned that their entire cast was comprised of some of my theatre crushes, plus a handful of new (to me) but equally gifted performers, I had a difficult time of narrowing down who I wanted to chat with. Then I got to thinking…what would Shug Avery do? Lemme tell you. She’d have them all, so that’s exactly what I did.

Instead of my usual posing of 20 questions amongst four company members, I decided to give Nashville Rep’s The Color Purple the royal treatment it deserves. To that end, as the cast and crew ready to open the show at TPAC’s Polk Theatre for performances Friday, April 5 thru Sunday, April 14, please enjoy the first of TWO Rapid Fire 20Qs!

First up, I’m chatting with The Color Purple’s director, Reggie Law as well as Carli Hardon (Celie), Tamica Nicole (Shug) and  Maya Riley (Nettie), then CLICK HERE to check out my interview with The Color Purple’s Shinnerrie Jackson (Sofia), Elliott Winston Robinson (Mister), Raven Buntyn (Squeak) and Gerold Oliver (Harpo).

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF NASHVILLE REP’S THE COLOR PURPLE (1 of 2)

RAPID FIRE WITH THE COLOR PURPLE’s DIRECTOR, REGGIE LAW

JHPENTERTAINMENT: While directing The Color Purple marks your Nashville Rep debut, you have a lengthy background in the performing arts, most notably as Executive Artistic Director at Oak Ridge Playhouse. I’m guessing East Tennessee is what connects you to Nashville Rep’s Artistic Director, Micah-Shane Brewer. How long have you known Micah Shane and how did directing The Color Purple come about?

REGGIE LAW: I have know Micah-Shane since about 2008 or 2009. We were both Artistic Directors for small East Tennessee theatre companies. We often attended each others productions but had not worked together until now. 

Micah-Shane approached me about directing the show and I said yes without even thinking.  Then had to see if my schedule would even allow it. Luckily the rehearsal period and opening fell at just the right time. 

JHPENTERTAINMENT: I understand you didn’t initially set out to have a career in the theatre, first studying architecture at UTKnoxville?

REGGIE LAW: Boy, you have done your research! How did you know that?  Yes, I came to the state of Tennessee because I had been accepted into the school of Architecture at UT-Knoxville. I had an advisor who had grown up in New York, going to Broadway shows. We used to sit in his office for hours talking about theatre. He made me realize I loved it more than architecture. I had to have the difficult conversation with my mother that was changing from a reliable major to one with little to no job security.  But she was, and still remains, very supportive. 

JHPENTERTAINMENT: How has your background and interest in architecture aided you as a director?

REGGIE LAW: When I left architecture I made the most common sense transition into set design and had planned to become a set and costume designer. But eventually that shifted to stage management and ultimately directing.  I guess the biggest benefit is that architecture trains you to think about systems and planning while exploring creativity.  I think it has allowed me to “speak the language” when collaborating with designers. 

JHPENTERTAINMENT: Anyone who reads my Rapid Fire interviews with any regularity knows I love to include a little six degrees of separation whenever I can. We have a mutual acquaintance in Dolly Parton’s Creative Director, Steve Sommers, you yourself having served as Assistant Creative Director for Dollywood Entertainment. What’s a favorite memory of your time at Dollywood?

REGGIE LAW: Steve is a great. I am so happy for his success. He was one of the most popular singer/dancers at the park while I was there. I started as a stage manager and ended up being an assistant and right hand to Michael Padgett who was creative director at the time, directing some of the productions and some writing of shows.

One of my favorite memories was when i was a stage manager. Dolly made a special appearance and was on a balcony taking to a crowd. It was so windy I had to hold on you her to help her keep her balance. But remain hidden the whole time. I was virtually lying face down while holding the hem of her skirt. 

JHPENTERTAINMENT: What do you hope audiences remember most after seeing Nashville Rep’s The Color Purple?

REGGIE LAW: I want people to leave with the thought that with clarity and goodness, we can overcome anything.  

RAPID FIRE WITH THE COLOR PURPLE’s CELIE, CARLI HARDON

JHPENTERTAINMENT: You’re playing Celie. I can’t imagine anyone not being familiar with The Color Purple, but just in case…who is Celie to you?

CARLI HARDON: Celie is a who goes through so many trials and tribulations and is able to find her voice, strength and power through the women she meets in her life. But she is more than that. She is also deeply loving and able to find faith through the people she meets. She is a survivor. She is highly intelligent both mentally and emotionally. She is a talented seamstress, incredibly loyal, and I think she loves to laugh. Even if the forces in her life make it difficult to do so.

JHPENTERTAINMENT: Nashville Rep audiences will no doubt recognize you having previous appeared in as Joanne in Rent and as Mercy in their production of School Girls; Or the African Mean Girls Play. Have you discovered any similarities between Celie, Joanne and Mercy or are they truly unique in their individuality?

CARLI HARDON: That’s a really cool question! I think there are similarities in all 3 characters. For each one there is a level of insecurity they face as they move through the world as black women. For Mercy, it is her skin tone and hair while for Joanne there is this need to be successful and striving. Celie’s is in her worth and beauty in this world. When I play roles, I try to find similarities in my life so as to bring as much honesty to the characters as possible. These attributes may not be inherent in each character but they were things I found that helped me ground myself in the characters. 

Another thing they all have in common is their capacity and desire to love and be loved. 

JHPENTERTAINMENT: What keeps you coming back to Nashville Rep?

CARLI HARDON: The people. Every show I have worked on has been full of supportive, kind hearted, creative people who will build you up and make you feel limitless. From the administration to the cast to the costume shop to Cece DeCorte and everywhere in between, these people are all-stars.

JHPENTERTAINMENT: The role of Celie has been played by some of the most legendary actresses including my friend LaChanze, as well as Whoopi Goldberg, Fantasia Barrino and Cynthia Erivo. What’s it like to join this iconic group of women?

CARLI HARDON: Woof. Ya know? Honored doesn’t really capture how I feel. It crazy because each of those women shaped my early life in different ways. LaChanze has been one of my role models from a very early age and made me believe I could also blaze a trail in this field as a dark skinned black woman. Whoopi Goldberg is a woman who finds a way to be effortlessly hilarious and switch to being so authentically moving in drama. Fantasia Barrino is a vocal powerhouse who sings from the very depths of her soul and takes each and every one of us on a journey with her as she does so. And Cynthia Erivo? I saw her play this role on Broadway and it was the only time I have ever seen a show come to a full stop for a standing ovation. She is so phenomenal and a dazzling force this world will not easily forget. My goodness these women are goddesses and I am so incredibly grateful to have had them as my guides throughout my life. I’d love to say that I have joined their group but I feel like I have so much more to learn before I’m even close. My only wish is to take what I have learned from them and let it continue to guide me on my journey. 

JHPENTERTAINMENT: As Celie, you get to perform some of the most gorgeous songs, not just in this show, but to my estimation, in all of modern musical theatre. Who are the musical director and choreographer for Nashville Rep’s The Color Purple and what have rehearsals been like?

CARLI HARDON: Our marvelous musical director is Dion Treece and our tremendous choreographer is Joi Ware. Rehearsals have truly been a collaborative process. 

Dion, truly feels the soul of the music and allows the freedom of your expression to help motivate how the music flows. He has this way of seeing the music and coloring it in such a creative and  beautiful way. Not only that, he is one of the BEST cheerleaders in the world. He encouraged me to feel what the moments call for and then takes those same moments to a whole new level based off of what he sees and feels from me.

Joi is truly a wonder to work with. She is able to see what is already being brought to the table and finesse it to being a stunning work of art. From the incredible dance numbers to small moments in scenes that make all the difference in further expanding the world that we are in. She has such a stunning eye for detail. She is such a skilled teacher. She will continue to find ways to help with getting concepts or movement until one sticks. 

Working with both of these titans (go football) has been such a pleasure.

RAPID FIRE WITH THE COLOR PURPLE’s SHUG AVERY, TAMICA NICOLE 

JHPENTERTAINMENT: Shug Avery…Shug Avery! Dang, do I love that character! How much fun are you having playing her?

TAMICA NICOLE: I am having the most amazing time playing Shug Avery. She represents many aspects I see in myself, such as self-determination, self-love, and free spiritedness. She also represents things that one may not want to associate with, such as selfishness and arrogance. What I love about her character, be it positive or negative attributes, she allows the audience,

as well as the actress to embody what it means to be human; not perfect, but real, relatable, aiming towards being a better person.

JHPENTERTAINMENT: In the 1985 film, when asked where her much younger male companion is, Shug slyly grins and says, “He went to college”. It’s been a while since I’ve seen the musical, but I can’t recall if that line made it into the stage adaptation. Nonetheless, the show is full of quick quips. Do you have a favorite line, yours or someone else’s, that makes you giggle every time you hear it?

TAMICA NICOLE: My favorite line/scene is when Shug is trying on a pair of Miss Celie’s pants, overhearing a phone conversation of which Celie is being told her Pa died and left her the store and house he owned. She finds out the man she thought was her Pa was actually her step-Pa, who had been raping her from the time she was 12 in that house. Because of this, Celie did not want the house. Shug cannot believe what she is hearing. She feels Celie should be happy her step-Pa is dead, and her real Pa left her everything. The sassy Shug snaps at Celie and says, “What you talkin’ bout you don’t want a house? Your real Daddy left it for you. That dog of a step-Pa just a bad odor passing through. Gimme that.” (Shug snatches the phone from Celie and says), “Celie want that house. And the store too! And she comin’ home tomorrow to sign the papers. (Shug hangs up the phone and says to Celie) Come on. Get Packed. You get there in time, you can make it to the funeral. Maybe you like him better dead!” This scene cracks me up, and the audience laughs every time they hear it. Shugs no-nonsense attitude towards Celie is so funny. She practically tells her what she is going to do. And the last line, about liking her step-Pa better dead, followed with my sinister laugh, makes for a great chuckle moment.    

JHPENTERTAINMENT: You, like myself, are a Nashville native…we’re rare unicorns, you and I. People love to grumble about ‘New Nashville’, but what I want to know is…what’s your favorite aspect of the changes you’ve seen in your hometown in recent years?

TAMICA NICOLE: I LOOOOOOOVE my city! Nashville is one of a kind. It has that good old home feel about it. I particularly love the growth in population. Now, I know some may think I’m strange for saying that, as I’ve heard many say the opposite. Let me explain. I believe growth indicates life, evolution, progression, and transformation. When things are stagnant they become lifeless, stale, dead. Growth is part of being a living, breathing organism in the world we live in. We must learn to embrace it, as we have been equipped as human beings with a natural, innate intelligence to adapt to new situations. So, I welcome growth in my life, in Nashville, in population, new experiences, love, opportunities, good health, in my bank account lol, etc.    

JHPENTERTAINMENT: It would seem you’ve fully embraced Nashville’s Music City moniker, considering you’re a singer/songwriter, an artist with Nashville Opera and a member of the W. Crimm Singers, TSU’s Big Blue Opera Initiatives’ ensemble in residence. How vital is it to you to showcase the fact that Nashville being referred to as Music City reaches far beyond country and Americana music?

TAMICA NICOLE: Well, I would have to say I go through life relying on a phrase I heard some time ago, “life takes care of life.” All things are life, including the music we create. For me, I feel things happen in perfect timing. Regardless of the style and genre of the creative works, I think music gets to the listeners in a naturally, perfected way. Through the many avenues of technology music is able to be received all over the world. Music City, in my opinion, is more and more being known for the diversity in music from its creators. 

JHPENTERTAINMENT: As Shug, you no doubt get to wear some fabulous wardrobe pieces. Who’s the show’s costumer and do you have a favorite Shug look?

TAMICA NICOLE: The costume designer is Nia Safarr Banks. She is amazing! Her concepts and ideas for how to portray each character are so detailed and precise. My favorite Shug piece is the costume for Push the Button. It is the dress she wears at the juke joint. The colors are so vibrant and beautiful. The dress makes me feel sexy, yet it’s tasteful. Shug has style honey! Lol! And let’s not forget about the head piece Nia designed for this look. It is simply stunning.

I won’t give away too many details. The people will have to come to the show to see it. But I will say it truly is a statement look, and I am definitely going to give a Shug Avery kind of performance in it! Hope to see you there!

RAPID FIRE WITH THE COLOR PURPLE’s NETTIE, MAYA RILEY

JHPENTERTAINMENT: The last few years continue to be MAYA’S YEARS…how many show’s have you been involved in since returning to Nashville and how much are you loving this time in your life?

MAYA ANTOINETTE RILEY: Haha yes! Performing for my Nashville theatre family is my favorite thing, and I’ve had the privilege to work with all the professional theatre companies that I admired growing up. I’ve done around 10 shows (a mix of full productions and staged readings) with Nashville Repertory Theatre, Studio Tenn, Nashville Shakespeare Festival, Nashville Children’s Theatre, and I most recently did a cabaret with Street Theatre Company. I’m having a great time sharing amazing stories with the community that raised me, and I’m so excited for what’s to come!

JHPENTERTAINMENT: How would you describe Nettie?

MAYA ANTOINETTE RILEY: Nettie is a vivacious and bright person. She’s deeply curious about the world, and has been afforded the opportunity to go to school and pursue education. Mostly due to Celie’s protection and sacrifices. I think Nettie serves as a pillar of faith for Celie throughout the show. When Nettie is gone, hope seems lost. When her letters are found, hope is renewed. She is sunlight on a stormy day. And a righteous, upstanding, educated woman. Which of course, in the world of The Color Purple, could be seen as very threatening. But she remains hopeful, optimistic and brave despite this.

JHPENTERTAINMENT: Some of the show’s most beautiful moment typically involve the reading of Nettie’s letters. To that end, who’s the show’s set designer and is there a particular moment audiences should look forward to involving the set, whether one including Nettie or another moment you witness from the wings?

MAYA ANTOINETTE RILEY: Our fabulous set designer is Joonhee Park! She’s worked with the Rep before. Actually, I had the pleasure of working with her on The Cake in 2022. The set immediately immerses the audience in a rustic, grounded experience. I think the most unique aspect of the set for this production is the spareness. It forces the audience to really engage with the subject matter of the story. No frills, no distractions. Just the bones – reckoning with the full weight of the story. And what’s great about that for an actor is that it really gives you the opportunity to imagine these spaces/places and rely on your senses and emotional instincts to breathe the world to life.

JHPENTERTAINMENT: Speaking of Nettie’s letters. You, yourself are a writer, having shared some of your poetry during your recent cabaret performance. Have you been working on any new material lately and when can we expect to see or hear more from you?

MAYA ANTOINETTE RILEY: Yes! I’m trying to practice writing at least 3 times a week. I have plans to publish some of my poems, so I’ll be submitting those to literary magazines and things in the next couple months. And I’ve been doing a lot of dramatic writing as well. I hope to have a reading later this summer for a project I’ve been working on. I want to hear it aloud to help me continue editing it. Hopefully, you’ll see some of my written work onstage or on screen somewhere soon!

JHPENTERTAINMENT: What themes explored within The Color Purple do you think audiences will contemplate long after the final curtain call?

MAYA ANTOINETTE RILEY: Some of the biggest themes of The Color Purple are resilience, spirituality and love. Alice Walker has spoken in interviews and writings about Celie’s journey with faith. Not in the sense of religion, but the unnamable sense of a higher power, a higher meaning. I hope that people leave feeling empowered by Celie’s resilience and revelations. Empowered to have highs and lows, to live the full range of the human experience, to make mistakes, and love themselves throughout all that. Empowered to discover their own greatness and the sanctity of all people and things around them.

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Nashville Rep’s The Color Purple opens at TPAC’s Polk Theatre Friday, April 5. CLICK HERE for tickets. The beloved musical based on Alice Walker’s classic novel will run April 5-14.  In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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 20Q with Director and Cast of Nashville Rep’s ‘Indecent’; onstage at TPAC’s Johnson Theatre February 2-11

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I love it when our local theatre companies take risks and present something other than the expected. With Nashville Repertory Theatre’s production of Paul Vogel’s Indecent, at TPAC’s Johnson Theatre February 2-11, they’re taking just such a risk. Vogel’s Indecent first debuted in winter of 2015 as a co-production between Yale Repertory Theatre and La Jolla Playhouse before opening Off-Broadway in 2016 and eventually playing Broadway in 2017. Examining the true story of the brief 1923 two-week Broadway run of playwright Sholem Asch’s The God of Vengeance, Indecent delves into the controversies surround The God of Vengeance, including the fact that the entire cast, the producer and the theatre owner all eventually faced prosecution for violating obscenity laws. I’ll save more on that for my review after I attend an opening weened performance.

For now, what follows are my conversations with Indecent’s current director and members of Nashville Rep’s cast for the latest installment of my recurring interview feature, Rapid Fire 20Q. First up is Nashville Rep Artistic Director, Micah-Shane Brewer who’s at the helm of this production, then it’s on to my chats with cast members Thomas DeMarcus, Sarah Aili and Eric Sorrels.

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF NASHVILLE REP’S INDECENT

RAPID FIRE WITH INDECENT DIRECTOR, MICAH-SHANE BREWER

JHPENTERTAINMENT: As I mention in my intro, one thing I love about Nashville Repertory Theatre is you guys aren’t afraid to mix it up and present shows your audiences may never have had the chance to see. Indecent, on stage at TPAC’s Johnson Theatre February 2-11, is a perfect example. How did Indecent come to be selected as part of the current season? 

MICAH-SHANE BREWER: I saw the Broadway production of Indecent about 7 years ago. I went in not really knowing anything about the play. I left the theatre in awe of the experience I had received. It blended so many theatrical conventions into one – the style of storytelling and the passage of time, the music, the ensemble work, the stagecraft. It was compelling, moving and beyond anything I had witnessed in the theatre. I thought about the play for days. 

A couple of years ago, we were discussing plays and Indecent came up as an option. Last year, as we were finalizing decisions for this season, I picked it back up and read through it again. I was struck at how timely it is. Here we are today fighting the same battles as the characters are in this play: censorship, antisemitism, gay rights, women’s rights. We’re in the midst of so much strife in our country, and the voices of hate have been given a larger and louder platform over the last few years. We’re seeing history repeat itself in so many ways, and sometimes, it feels like we’re going backwards as a society. It felt right and it felt like it was time for us to tell this story. But it did (and does) scare me – in all the good ways a challenging piece of theatre should. It’s not easy, and there are so many moving parts to this production. 

JHPENTERTAINMENT: A bit of a follow-up…as Nashville Rep’s Artistic Director, do you automatically get first choice of the show’s you direct each season, or is there a process followed by eligible candidates interested in directing?

MICAH-SHANE BREWER: I suppose the answer to this question is yes; however, I give a great deal of thought to the needs of each production, especially for directors. For example, it was important to me to have female directors for both 9 to 5 and POTUS. It was very important to have a black director for The Color Purple. The programming of the season ALWAYS comes first, and then directors are chosen after. I chose to direct Indecent because this story and subject matter mean a great deal to me.

JHPENTERTAINMENT: When I first heard Nashville Rep was presenting Indecent, I gotta be honest. I knew next to nothing about the show. Researching to chat with you and some of your cast, I’ve learned a bit, but for those unfamiliar, can you tell me what it’s about?

MICAH-SHANE BREWER: Indecent is based on actual events. The play follows a troupe of Jewish artists who risked their lives to perform a work deemed “indecent.” It’s the story of Sholem Asch, a Jewish playwright, who, in 1906, wrote a play called The God of Vengeance. It was produced in Yiddish and had successful productions all over Europe. In 1922, there was a production on the Lower East Side in New York City and it was translated into English. The show then transferred to the Apollo Theatre on Broadway in 1923. It was promptly shut down and the cast and producer were arrested for obscenity and put on trial. Indecent is a love letter to the power of theatre, a cautionary tale of the consequences of censorship, and a reminder that love always triumphs over hate.

JHPENTERTAINMENT: Representation matters. It’s a phrase…and practice… you hear more and more as people become increasingly aware of sensitivity towards others. To that end, as the director was there concern that certain stereotypes, whether in speech or mannerism be avoided? Did the cast work with a dialect coach or a Yiddish consultant in an effort to represent the Jewish characters as authentically as possible? 

MICAH-SHANE BREWER: Of course, representation does matter, and it’s important that all of us do the work to be authentic, truthful storytellers. The actors play a wide range of characters and use varying types of dialects and accents throughout the play. Although some of the characters are Yiddish, the majority of the time they are speaking in English. There are some Yiddish phrases and songs used throughout. Luckily, we’ve had a great team to give assistance to our actors. Nettie Craft is our Dialect and Voice coach and has been doing excellent work with each cast member crafting the correct sounds of each dialect. There’s a lot of technique when it comes to dialect and accents, and it takes a good ear, understanding of the vocal instrument and placement, and repetition for each actor to achieve the muscle memory of creating the exact sounds that are unique and authentic. We’ve also had the good fortune of having Howard Snyder as our dramaturg. Howard has been invaluable to this process by providing excellent research for so many areas of our production. Whenever you’re working with a story based on real people and events, it’s imperative to understand the historical context of the culture and the people you’re representing. Indecent spans almost 50 years, so there’s a lot to unpack: world events, Jewish culture, the political and social implications of the times, theatre history. Being a theatre artist means being an excavator; you have to dig for the details. You have to be a lover of learning. This cast has put in the time and attention to understanding and honoring every person, culture and moment in this story. 

JHPENTERTAINMENT: What about casting Jewish actors? Was there a consciences effort to include Jewish actors among the cast of Indecent? 

MICAH-SHANE BREWER: The goal was to have as many Jewish actors as possible. Part of the callback process is getting to know more about the actors and their background and connection to the material. Some of our actors are Jewish, and some descend from Jewish (and even Yiddish) cultures. On the first day of rehearsal, we had a lot of time to share about our history and backgrounds, and I was very moved at some of the personal stories shared. Some spoke of their grandparents and family members who immigrated to the United States. One of cast members shared that their grandmother was turned away at Ellis Island and had to return. Another cast member’s father grew up speaking Yiddish and provided assistance to the actor. 

As a director, I’ve always said that the biggest success of a show is its casting, and sometimes you just know when you see the actor who’s right for a certain role, and we struck a wonderful balance of actors for this production. This ensemble is one of the most thoughtful, caring, hard working, respectful, talented ensembles I’ve had the pleasure to work with. A lot of care has been given to the work throughout this process. Everyone holds this story close to their hearts. We honor the ones who are represented in this play who sacrificed their work, their reputations and even their lives. What’s great about the casting is that I feel everyone in this ensemble was MEANT to be in this cast; it was somewhat serendipitous how this casting came together so perfectly. I’m a lucky guy to be working with such a fantastic team.  

RAPID FIRE WITH INDECENT’s THOMAS DeMARCUS

JHPENTERTAINMENT: Last time we chatted you were appearing as Mrs. Trunchbull in a local production of Matilda back in 2019. You’ve appeared in a number of productions since, and now you’re about to take the stage at TPAC’s Johnson Theatre as Lemml, The Stage Manager in Nashville Rep’s Indecent. What can you tell me about Lemml?

THOMAS DeMARCUS: Oh, sweet sweet Agatha Trunchbull…you are about as far away from Lemml as one can get! I’m so thrilled to make my Nashville Rep debut with Indecent! There are many real people referenced in the play but Lemml is a fictional creation of the genius of playwright Paula Vogel. This play begs for the intimacy that the Johnson Theatre can provide. Lemml is a tailor from a small village who happens to attend the first reading of The God of Vengeance with his cousin and it will change the entire course of his life. He believes in the play. He wants to see it thrive. He tackles the role of stage manager with the utmost respect and reverence. He comes through Ellis Island with a dream like so many others. Lemml personifies hope.

JHPENTERTAINMENT: Indecent touches on so many themes of injustice, acceptance and equality that are as relevant today as they were when The God of Vengeance, the play within the play was first written in 1906, then later mounted on Broadway in 1923. Here we are 100 years later and this play is still frequently described as ‘controversial’. What’s so controversial about equality?

THOMAS DeMARCUS: It has long been confusing to me that when underserved groups ask for equal rights, that the message twists into a loss of rights for others. That the balance of freedom for all has to come at a cost of losing the freedoms for some. It is never about having more rights than you, but having the same as you. The controversy, to some extent, must be that people hate the idea of losing their foothold on power and control. If one group can use the water fountain while another group can’t, and then one day everyone can use the water fountain, what has the first group truly lost? It doesn’t feel controversial, and yet oppression and suppression still linger.

JHPENTERTAINMENT: I noticed on Nashville Rep’s socials where they intro the cast, you cite that this performance is dedicated to your son, Leo. How important is it that audiences truly take in the messages presented in Indecent?

THOMAS DeMARCUS: I think it’s always noteworthy to self-evaluate how you might respond in a crisis or when your back is up against the wall, but perhaps it’s more important to evaluate your behavior when the thing fighting for its life is someone else, or some group, or some cause. How do you respond then? Indifference? Ignorance? Assistance? I want my son to grow up in a fair and loving household and I want that extended to a fair and loving world. To teach him right and wrong and to know how to use his voice but also his eyes and ears. I say this with no hyperbole, Leo is the greatest human who has ever lived, but I want the audience to fight for him just as hard as he will fight for them.

JHPENTERTAINMENT: What aspect of Lemml and his circumstances has been most challenging/gratifying to play? 

THOMAS DeMARCUS: After nearly 30 years of acting, I finally get to play a narrator! This show spans multiple countries, languages, and time periods so the challenge with Lemml is that he’s the audience’s through-line for the entire show. He introduces the troupe and he’s with the show all over Europe and when it comes to New York. Lemml is solid in his beliefs. He’s certainly naive and innocent when we first meet Lemml, but as the world around him consistently disappoints, he’s tasked with finding these fleeting pockets of hope. The gratifying part is I only have to play Lemml, while the rest of the cast has to switch characters multiple times. Thank goodness they are talented!

JHPENTERTAINMENT: This may seem an obvious question, but what is it about a 2015 play examining the circumstances surrounding a 1923 play that will pique audiences’ interest?

THOMAS DeMARCUS: There are two lines in the show where the audience can easily draw a connection to today: “it won’t happen here” and “these things happen”. In the play, they refer to anti-Semitism but isn’t this the same back and forth with gun-control debates? with hate-crimes? with domestic terror? with natural disasters? We have a tendency to assume that a nightmare cannot happen to us in our own community. Then it happens and we shrug our shoulders when the people in power fail to protect us. This play is telling you to not just fight for what you believe, but to defend those that cannot always fight back.

JHPENTERTAINMENT: Indecent, not only examines the controversies of The God of Vengeance, but the closeness of community. I frequently ask actors I’m interviewing to speak of the community of actors as it relates to their current show. Do you feel a closeness to those you’re sharing the stage with?

THOMAS DeMARCUS: I have been extremely impressed by Nashville Rep‘s professionalism throughout this rehearsal process. Not just the immediate company, but this extends to our brilliant designers, our hard-working crew, and to our very thoughtful dialect coach and our very thorough dramaturg. Our director, Micah-Shane Brewer comes to each rehearsal with new ideas and new questions for us to ponder. I’ve known him for 12 years and it has been an honor to work with him on Indecent. It feels like everyone is taking this material with the seriousness that it deserves and we all want to make an important show. I’d like to believe that Nashville’s theatre community is loving and supportive, and this group has not changed that opinion. I have worked with only one member of this company before (Garris Wimmer; Spamalot; Studio Tenn; 2017) but I’d heard of so many others. And I would get texts from friends saying “oh you will LOVE Rona Carter” or “so many great people in this company!” and yes…they’re right. This show demands an ensemble that is on the same page, and thankfully that’s what this show has!

RAPID FIRE WITH INDECENT’s SARAH AILI

JHPENTERTAINMENT: A quick look at Indecent’s character list reveals you play Halina, among others. Can you speak a little about the process of creating differentiality between the roles you’re presenting in a single work?

SARAH AILI: Yes! Apart from portraying Halina in “The Middle,” I also take on roles like Manke, Immigrant, Freida, Dorothee Nelson/Dine, Dr. Hornig, and one of the Bagelman Sisters. Playing these characters consecutively provides a profound lesson in staying completely present. Once the initial challenge of getting my lines, blocking, choreo, quick change moments etc… right, immersing myself in the storyline becomes more seamless. In terms of character development, I prefer starting with physicality, tone, and melody. Exploring how my characters walk, move, shape vowels, hold themselves etc…leads to discovering the character’s essence. It’s akin to slipping in and out of a well-fitted coat. Making specific choices helps me swiftly embody these characters, crucial in a fast-paced show like this!

JHPENTERTAINMENT: If memory serves, the last time I saw you onstage at Nashville Rep was their 2018 production of Avenue Q. There’s been a few chances in staff at Nashville Rep since your last involvement. Are you enjoying being back and working with the current staff and creatives?

SARAH AILI: Oh yes, VERY much! Every experience I’ve had with Nashville Rep has been stellar. I adore Micah-Shane Brewer, working with him has been a true delight! 

JHPENTERTAINMENT: What can you tell me about Halina, the primary character you play in Indecent?

SARAH AILI: Halina, a woman in the prime of her life, a woman who has been through love and loss, pain and celebration, embraces the opportunity to portray compelling and juicy roles in Indecent. Immersed in playing a female character with tenacity in her soul, the experience of bringing her to life is genuinely fulfilling for me!

JHPENTERTAINMENT: While Indecent isn’t a musical, it incorporates music, dance and song as part of the full experiences. What’s the typical rehearsal schedule like incorporating all those elements?

SARAH AILI: From the initial rehearsal day of Indecent, our musicians have been integral members of the troupe, seated at the table with us. The seamless intertwining of music and dialogue is paramount to the poignant essence of the show. Without this precise harmony between story and song, I couldn’t envision Indecent coming to life in such a profound way. Our synchronization with the music is in perfect rhythm, and the music effortlessly aligns with the scenes in every instance.

JHPENTERTAINMENT: Without revealing too much, do you have a favorite moment in the show? 

SARAH AILI: The entire show captivates me – its fluid movement, effortless exploration of profound depths, and the inherent ease and beauty it carries. The ensemble, a vital part of the narrative, is what I cherish the most. Sharing the stage with this group of immensely passionate and talented performers is my favorite aspect.

RAPID FIRE WITH INDECENT‘s ERIC SORRELS

JHPENTERTAINMENT: When I spoke with your cast mate, Thomas DeMarcus earlier, he revealed that Indecent will be his first Nashville Rep show. I understand it also marks your debut with the company. What’s the experience been like thus far?

ERIC SORRELS: It continues to be a wonderful experience. I grew up outside of Nashville in Lebanon, so being here feels a little bit like a homecoming. It’s also been a reunion with Micah-Shane Brewer, with whom I shared the stage in Knoxville several times at the Clarence Brown Theatre. In my experience, the way a particular theatre company feels hinges on the leadership of the director. From day one with Indecent, Micah-Shane fostered a room that allowed us to bond as an ensemble, put us all on the same foot as equals, and motivated me to bring my very best self to rehearsal each day. The only issue with the rehearsal process was that insane arctic weather we had for about a week. But even then, that was just a chance for me to see how dedicated Nashville Rep is to its people; Micah-Shane and our stage manager Isaac Krispin would go out of their way to pick up actors on the way to rehearsal to ensure everybody could make it there safely. Needless to say, I’d come back to work with Nashville Rep anytime they’ll have me.

JHPENTERTAINMENT: While it may be your Nashville Rep debut, you’ve got quite the career resume. Your credits reveal you were among the cast of North Carolina Theatre’s production of Beautiful: The Carole King Musical where you were not only part of the ensemble, but also appeared as Neil Sedaka, Lou Adler and half of the music duo, The Righteous Brothers. What was your favorite aspect of that production?

ERIC SORRELS: One of the reasons I love Beautiful is because even though Carole is obviously at the center, every cast member has a chance to shine. As the Righteous Brothers, we would get entrance applause before we even started singing — that’s how excited the audience was to hear You’ve Lost That Lovin’ Feeling. But to bring the question back to this production: there’s a moment in Indecent when the characters talk about how they gather at the wings of the theatre to watch a very special scene take place night after night. In Beautiful, I was that actor gathering at the wings to watch our Carole (Elena Ricardo) perform Some Kind of Wonderful, It’s Too Late and You’ve Got a Friend. Watching her shine never got old.

JHPENTERTAINMENT: Back to Indecent, you play Moriz Godowsky. What can you tell me about him?

ERIC SORRELS: The musicians don’t actually have any lines in the play, so I’m really free to bring a lot of myself to Moriz. To that end, he’s a pretty mild-mannered guy, self-taught on the accordion and ukulele, and he gets a lot of joy out of watching his actor companions tell this beautiful story and transform into so many different characters. One fun detail we discovered is that Otto the Elder (played by Garris Wimmer) and Moriz share the same last name in the script. We’re not really sure why, and it doesn’t affect the storytelling all that much, but we’ve agreed that Otto and Moriz must be family.

JHPENTERTAINMENT: As you mentioned, Moriz plays the accordion during interwoven musical segments featuring Klezmer music. Here’s a two-parter for you…For the uninformed, what is Klezmer and is it true you just first picked up the accordion just over a year ago for a production of The Great Comet of 1812? 

ERIC SORRELS: Klezmer is a musical tradition originated by the Ashkenazi Jews of Central and Eastern Europe. It’s a really expressive and dramatic musical style, with melodies that evoke big human emotions. The instrumentation is key too — klezmer music typically includes violin, accordion, clarinet, and percussion, as is the case for Indecent. I first encountered klezmer music as a member of the professional choir at Temple Emanu-El in New York City (a synagogue which Indecent references at one point!). I think it speaks to the unique experience of the Jewish diaspora that klezmer has made its way across time and space from centuries ago in Europe to Music City, USA in 2024. 

Yes! I have a background as a piano player, but the first time I ever held an accordion was October 2022 for Theatre Raleigh’s production of The Great Comet. The versatility of this instrument continues to amaze me. It’s kind of like walking around with a pipe organ strapped to your chest. The score of Indecent has been an opportunity for me to take my accordion-playing to the next level, and learning some of the trickier passages of this score has been extremely rewarding.

JHPENTERTAINMENT: Lately, I’ve ended my interviews by asking the last person I speak with a variation on this same question…What do you hope audiences take with them after having experienced Indecent at Nashville Rep?

ERIC SORRELS: I think for me, Indecent is a reminder of why we make theatre, why we attend the theatre, and why theatre will always be a vital part of human expression. The theatre is a sacred space where we can hold and examine our collective memory. I’m reminded of a classic Arthur Miller line from Death of a Salesman: “Attention must be paid.” We go to the theatre to pay attention; to remember parts of human history that would otherwise be forgotten; to find ourselves in a character who appears to have totally different experience from us. This play also reminds us that as long as there have been artists willing to show all the facets of humanity, from innocence to depravity, there have been those wishing to censor what they judge to be unsavory, immoral, or — yes, I’m going to say it — indecent. To that end, I hope audiences leave with a renewed appetite to see, support, and make more daring theatre.

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Nashville Repertory Theatre’s Indecent plays TPAC’s Johnson Theatre Thursday, February 2 thru Sunday, February 11. CLICK HERE for tickets to this powerful play. Following Indecent, Nashville Rep will host two nights of staged readings of playwright Lydia R. Diamond’s Stick Fly at Nashville Public Television’s Rains Avenue studio as part of their REPaloud series. Visit nashvillerep.org to secure your FREE spots for either night. Next up, The Rep will continue their regular season with The Color Purple on stage at TPAC’s Polk Theatre. The beloved musical based on Alice Walker’s classic novel will run April 5-14.  In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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!

Theatre Review: With a new adaptation of ‘A Christmas Carol’, The Rep presents what could easily be Nashville’s newest holiday tradition

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For years Nashville Repertory Theatre presented the modern holiday favorite, A Christmas Story as their annual seasonal offering and it was a delight. This year they’re going a more traditional route, but with a twist as they present a newly adapted version of A Christmas Carol. When you think of classic Christmas stories, Charles Dickens’ A Christmas Carol is likely to be among the first that comes to mind. Since first being gifted to the public by way of a novella published back in 1843, Dickens’ now-familiar story of miserly miserable Ebenezer Scrooge has delighted audiences for nearly two centuries. While audiences witness Scrooge being visited by three Christmas Spirits, they’re reminded that the true spirit of Christmas is simply kindness towards others. Thanks to Nashville Repertory Theatre’s Broadway-worthy presentation, adapted by The Rep’s Artistic Director Micah-Shane Brewer, Nashville audiences are getting the chance to see this timeless story and the ever-present reminder that good will is the greatest gift as A Christmas Carol continues at TPAC’s James K. Polk Theatre through Sunday, December 17.

Those familiar with A Christmas Carol, and let’s face it, who isn’t?, might recall that the story is rather brief. After all, a synopsis might go something like this…Scrooge is mean. Scrooge sees the ghost of his former partner. He has a sleepless but eventful night. He has a change of heart. Scrooge is nice again…To that end, the play. in its standard form, is rather brief. To flesh it out and make it the gorgeous, enchanting and emotional spectacle it is in it’s current iteration with The Rep, in addition to directing this production, Brewer also adapted the classic story, extending a few scenes and adding a choir of townsfolk performing musical interludes between scenes—some classic carols—and some newly written by Brewer and arranged by The Rep’s Musical Director/Arranger Gregg Perry. It’s those musical moments and extended scenes that help The Rep’s A Christmas Carol stand out, and, if you ask me, should make it The Rep’s new annual holiday tradition.

One such musical interlude opens the show. As the curtain rises on Scenic Designer Gary C. Hoff’s idyllic London Town, ensemble members are seen bustling about shopping and readying for the coming holiday. A group of carolers forward and begin to sing Almost Christmas Day, one of the handful of new works written by Brewer and arranged by Perry. I gotta be honest, as soon as the first musical interlude began, I knew I had to reach out to Brewer to get a little insight. Of this opening carol, Brewer revealed, “I wanted a song that helped to establish time and location, and to introduce the people of London (as well as Scrooge). I looked for a carol that would fit and everything I found just felt forced. So one day, early on in the process, I said “well, maybe I’ll just write a song,” somewhat joking. But then I started jotting some lyrics down and thought that this might be the best way to effectively achieve what I needed for the opening. So the lyrics came first, and then when it was time to set the lyrics to music, the tune and lyrics did not fit. Back to the drawing board, I wrote a melody, used a few of the original lyrics, but ended up writing a lot of new lyrics to fit. Songwriting for the theatre is MUCH harder! I broke up dialogue between the verses to help begin setting the story.”

Brewer’s plan worked perfectly as the audience is immediately transported back in time and invited to experience the familiar story once again. Among those features throughout as carolers are Christine Toole, Ivory Bodnar, Shelby Talbert, Ben Friesen, Galen Fott and Brian Charles Rooney. While most of the ensemble sing at one point or another, let me be clear…this isn’t a full-on musical, the carols are simply perfectly peppered throughout to fill the gap between scene changes and to add a bit of punch to the progression of the story. It’s not like Scrooge breaks into song mid-sentence or anything like that. Instead, The inclusion of the occasional carols, old and new, is as welcomed and soothing as a cup of Hot Cocoa on a brisk winter’s morn.

Among the traditional carols included: The First Noel, Deck the Halls, I Saw Three Ships, In The Bleak Midwinter, We Wish You a Merry Christmas and more.

In addition to the opening tune penned by Brewer and Perry, Act One also features a song titled Blessing, performed by Jennifer Whitcomb-Oliva and the Cratchit family. Of this tune, Brewer said, “I knew I wanted to may the prayer a song but didn’t want it to be long. So, I wrote the lyrics as I was writing the script, and then a few months later came back to it and gave it a melody. It’s simple, which is exactly what I wanted.”

Act Two features another original written by Brewer and arranged by Perry, It’s Christmastime Again, with includes a solo by Scrooge himself. Brewer explained, “I wanted a song that established the feeling of Christmas Day, the hopes and the happiness one feels at the time. As I started writing the melody, I realized some of my original lyrics didn’t work. I wanted the song to feel and sound like it could be from the period, so the melody sounds very traditional. As I was revising the second verse of lyrics, I thought why not give Scrooge a solo here? He can sing about how his heart has been transformed. I’m really happy with the number, and I must admit, even I go around singing and humming it, so I guess it’s an earworm.”

Speaking of Scrooge, Matthew Carlton is simply brilliant in the role, and it’s a bit of a full-circle moment! His bio reveals his first foray into A Christmas Carol at The Rep came in 1990 when he was cast as Scrooge’s young nephew, Fred. Over the years, Carlton says he’s played a dozen or more characters in eleven different production. I’m here to tell you though, he better free up his winter calendar going forward because it’s official, Matthew Carlton now ranks among my favorites to have ever taken on the role. He’s in good company, too, considering Sir Michael Caine’s Scrooge from The Muppet Christmas Carol tops the list! What’s interesting about Carlton’s performance is, it’s all-encompassing. Yes, he can mean-mug with the best of them, but the scene that struck me most, and may or may not have made my eyes sweat takes place during a party when Scrooge is transported back in time by Kris Sidberry’s beautiful Ghost of Christmas Past. In the scene, Carlton’s Scrooge sees his beloved Belle (Ivory Bodnar) enjoying the merriment of a dance with fellow holiday revelers. Caught up in the moment, but forgetting that he’s only a shadow presence, Scrooge attempts to join in the fun, getting caught at one point in the center of a quartet of dancers. Of course unseen because he isn’t actually there in his present form, he’s ignored as the dancers continue moving about without him. Within just a few minutes as this scene plays out, Carlton, under the keen direction of Brewer, runs the gamut of emotion from excitement to regret and sadness. Being a self-confessed Scrooge myself, I was a puddle.

The show–and its cast of beloved Nashville actors including such theatrical luminaries as Galen Fott and Denice Hicks as Mr. and Mrs. Fezziwig–is filled with the nuanced, but brilliant moments. After seeing Hicks and Fott bubble and giggle about as the Fezziwig’s, their’s is a party I’d gladly attend.

You know you’re a great actor when just a projection of your face can elicit an internal squee. That’s the exact reaction when another longtime Nashville favorite, Brian Webb Russell’s face appeared on Scrooge’s door as the “dead to begin with” Jacob Marley. In an early scene, when Marley visits Scrooge to warn him of the coming visitors, Russell’s Marley rattles his chains as he floats about the room. More fanciful than frightening, a joy to watch. He’s equally enjoyable when paired with Deb Meeks (making her Rep debut) as a rather boisterous party-goer who’s husband (Russell) is partaking of a few too many Christmas ‘spirits’ of his own. These two need to be paired together more!

Still more of my favorites, Eric D. Pasto-Crosby and Jennifer Whitcomb-Oliva are featured as Bob Cratchit and his wife, Emily. Pasto-Crosby plays the kindly Cratchit with sweet conviction. Whitcomb-Oliva proves her range, and her acumen as Bob’s devoted wife, Emily, but my favorite scene comes when she’s about to give Scrooge a bit of fiery what for, only to realize he’s seen the error of his ways and quickly turn on that megawatt charm once again. God, thank you for the gift that is Jennifer Whitcomb-Oliva on stage, even in a supporting role, she’s a scene-stealing delight.

Can’t talk about A Christmas Carol without talking about the Spirits. Mentioned above, Kris Sidberry, making her Nashville Rep debut, is simply magical as Ghost of Christmas Past. Delightful, sweet and fun…all the things we think of most when we remember the past are personified in Sidberry’s performance. She doesn’t just shine in her performance, she sparkles. In part, thanks to Costumer Designer, Melissa Durmon’s literally and figuratively glowing gown!

Brian Charles Rooney, seen last holiday season as Buddy the Elf in Nashville Rep’s Elf, is larger than life as Ghost of Christmas Present, and what a present his performance is. Towering above Carlton’s Scrooge (did I see light-up disco platforms under Rooney’s velvet robe?) Rooney’s Ghost of Christmas Present is cheeky, loud and bossy. Everything you could wish for in a ghost guide. Again, kudos to Durmon, and added kudos to her and her wig department team for transforming Rooney into an almost unrecognizable bacchanalian party god with flowing ginger locks and beard. Didn’t think I was into scruffy gingers, but you never know. As mentioned previously, Rooney is among those featured throughout the action as a caroler. I have it on good authority he had been dealing with a bit of laryngitis during the opening days of the show. All I know is, if that’s Rooney with laryngitis, belting out and hitting those unfathomable soprano-high notes, the rest of the run the audiences were in for a treat.

Round out the ghostly trio is Ben Friesen as Ghost of Christmas Future. Even though the show is about to enter its final week at the time of this review being posted, I’m a staunch believer that spoilers do just that…they spoil aspects of shows that are meant to surprise and entertain. To that end, Friesen’s Ghost of Christmas Future definitely delivers. Visually hauntingly brilliant and looming large, Friesen’s appearance is definitely a powerful one. Suffice it to say, his performances a Ghost of Christmas Future would no doubt make Jim Henson proud..and that’s as much of a spoiler as you’ll get from me. Not to fret though, he’s also featured throughout the show, most notably as Dick Wilkins, a friend and colleague of younger Scrooge.

Speaking of younger Scrooge, Evan Fenne is making his debut as Scrooge in his younger days. His scenes with Ivory Bodnar’s Belle are perfectly sweet and though we know their fate, the hopefulness of their performances together is joyous and further illustrates Scrooge’s hidden, but still-present redeemable qualities.

The entire cast is filled with great supporting performances. Mention should be made of Max Fleischhacker as Scrooge’s Nephew Fred, Ethan H. Jones as Mr. Blakeley, Abby Hopper as Alice Cratchit, Alex Hillaker as Henry Cratchit, David Long III as Peter Cratchit, Shelby Talbert as Martha Cratchit, Elle Wesley as Belinda Cratchit, Caroline Henry as Alice Cratchit and Emily Hooper and David Matthew Clark (on alternate nights) each sharing the role as Tiny Tim.

Nashville Repertory Theatre’s A Christmas Carol on stage at TPAC’s James K. Polk Theatre continues through Sunday, December 17. CLICK HERE for tickets or more information. Following a brief break in the new year, Nashville Repertory Theatre will present Paula Vogel’s Indecent on stage at TPAC’s Andrew Johnson Theatre as The Rep’s 2023/2024 season continues. CLICK HERE for tickets to this powerful play. In the meantime, check out Nashville Rep online HERE and follow them on Facebook,  Twitter,  YouTube and Instagram.

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 20Q with director and cast of Nashville Repertory Theatre’s ‘A Christmas Carol’; onstage at TPAC’s James K. Polk Theatre December 1 thru 17

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Few Christmas classic have endured the test of time like Charles Dickens’ A Christmas Carol. First published in novella form1843, by the following year, stage adaptations and public readings (by Dickens and others) solidified the now-familiar story of Ebenezer Scrooge and his attitude-adjusting otherworldly Christmas Eve visitors as a holiday tradition. To that end, Nashville Repertory Theatre’s own Artistic Director Micah-Shane Brewer will helm this year’s holiday offering of A Christmas Carol adapted by the director himself.

A couple weeks ago, I reached out to The Rep’s Director of Marketing and Communications, Amos Glass with the idea of chatting with four members of the cast and crew of A Christmas Carol for a Christmasy edition of my recurring interview feature, Rapid Fire 20Q. When Amos asked who I’d like to chat with, I immediately requested Micah-Shane  and the three actors playing the Three Christmas Spirits. What follows are those conversations.

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RAPID FIRE 20Q WITH CAST AND CREW OF NASHVILLE REP’s A CHRISTMAS CAROL

RAPID FIRE Q&A WITH A CHRISTMAS CAROL DIRECTOR MICAH-SHANE BREWER

JHPENTERTAINMENT: As the show’s director, what is it about A Christmas Carol, and this version in particular that drew you to the project? 

MICAH-SHANE BREWER: A Christmas Carol has always held a special place in my heart.  For as long as I can remember, this story has been a part of my holiday tradition.  When I was a kid, I had a VHS tape (yes, I’m that old) of Mickey’s Christmas Carol and I would watch it over and over.  Along the way, I’ve seen numerous film and tv adaptations and grown to love certain versions. (My favorite is The Muppets Christmas Carol!) I’ve also been in and directed probably 9 or 10 different stage adaptations.  I’ve spent most of my life revisiting these characters each and every year. And every time I come back to it, it always connects in a deeper and more meaningful way. 

I think as we get older, we look back at the past and think about touchstone moments, things that we did or didn’t do, choices that may have changed the trajectory of our path, but also, looking at where we are in this moment in time and where we are heading. The power of A Christmas Carol is that it speaks to one and all, both young and old.  Its universal themes can touch us all.  There’s a reason it’s one of the most popular stories in the world, even 180 years after it was written.  

When we decided we wanted to produce A Christmas Carol, I knew I wanted to make a special production that would be a holiday event for the entire family. It’s a traditional version of A Christmas Carol. Audiences can expect a beautiful, large-scale production with something for everyone and all ages.  It’s a brand-new script, and the production designs are breathtaking.  The scenic design is spectacular – the costumes are splendid – there are over 500 different pieces used in the production.  There are some really fantastic projections designs and special effects.  Music plays an integral role in the production.  We use numerous Old English carols from the period, as well as a couple of new songs in the production.

A Christmas Carol is far more than just a classic holiday story; it is a poignant and transformative reflection of our shared human experience and an enduring reminder of the power of empathy and connection. It’s a journey of healing and a story of redemption.

JHPENTERTAINMENT: Eggnog or Hot Cocoa?

MICAH-SHANE BREWER: Hot Cocoa any day! 

JHPENTERTAINMENT: A White Christmas or Sunshine for Santa?

MICAH-SHANE BREWER: I’m going to have to say a WHITE CHRISTMAS! There’s something very peaceful about a snowy day. 

JHPENTERTAINMENT: What do you enjoy more, wrapping presents or decorating the tree?

MICAH-SHANE BREWER: That’s a no brainer for me. Decorating the trees! Every year, we put up multiple trees in our house.  I love to decorate for the holidays.  (And I’m not very good at wrapping gifts…)

JHPENTERTAINMENT: What’s your favorite Christmas memory?

MICAH-SHANE BREWER: How do I pick just one? A lot of my memories and Christmas traditions run together. I have so many memories of  Christmases when I was a kid: being with family; the rush of waking my sister up early Christmas morning and opening gifts; my grandmother’s Christmas lunch.

When you get older, Christmas changes in many ways. For many years, we hosted a huge Christmas party for our friends, and every year, the evening would conclude with friends gathering around the piano, singing Christmas carols (and sometimes showtunes). I love Christmas music, and being able to share that moment every year with friends is a special memory. 

I’m usually doing a show around the holiday season. When I was in grad school, I remember doing MANY school performances of A Christmas Carol, and one performance, a young girl stood up from her seat in the front row during the finale, all gooey eyed and mouth wide opened, and yelled “It’s SNOWING!” She really believed it was happening, and it was just one of those moments that was so special to see the magic of Christmas and theatre combined!  So every year, I think about that little girl and hope to recapture that magic for others!

RAPID FIRE Q&A WITH A CHRISTMAS CAROL’s GHOST OF CHRISTMAS PAST, KRIS SIDBERRY

JHPENTERTAINMENT: Among your roles in A Christmas Carol at Nashville Rep, you play The Ghost of Christmas Past. If you could live in a past time period, when would it be?

KRIS SIDBERRY: I was definitely not made for the modern time period. I love the Harlem Renaissance of the 1920s. 

JHPENTERTAINMENT: A Muppet Christmas Carol or Mickey’s Christmas Carol? 

KRIS SIDBERRY: Mickey’s. My Dad loved Mickey Mouse. 

JHPENTERTAINMENT: Gingerbread or Sugar Cookies?

KRIS SIDBERRY: I love both. Cookies are my fav, but I guess Gingerbread. 

JHPENTERTAINMENT: A Christmas Tree with clear lights or multicolor? 

KRIS SIDBERRY: Multicolor! White lights are so basic. 

JHPENTERTAINMENT: Favorite Christmas Memory?

KRIS SIDBERRY: Christmas was always very big deal in my house. My father was obsessed with Christmas. Sometimes he would decorate 3 different trees.  Like most young kids, every year I would set out homemade cookies and milk. I remember being about five years old, and I swear that I heard jingle bells and hooves on the roof when preparing for the visit from Santa. I’m pretty sure that my parents must’ve hooked up speakers somehow in the house and played a track, but I will never forget that memory. So magical. I believed in Santa until my pre-teens. I will always believe in magic.

RAPID FIRE Q&A WITH A CHRISTMAS CAROL’s GHOST OF CHRISTMAS FUTURE, BEN FRIESEN

JHPENTERTAINMENT: You’re cast as The Ghost of Christmas Future, among other roles in The Rep’s A Christmas Carol. If you could make a wish for the future, and I guess now that I’m asking, you can, What would it be?

BEN FRIESEN: I would wish for more opportunities like this one, where I get to do so many things that I love to do with so many wonderful people! I already feel blessed to be acting professionally, but when I get to add singing, dancing, fiddling, dialect work, and flying? Shows like this are my dream!

JHPENTERTAINMENT: Candy Canes or Peppermint Bark?

BEN FRIESEN: Nowadays I would probably go for peppermint bark, but the child in me still wants to lick one end of a candy cane until it becomes as sharp as a tack.

JHPENTERTAINMENT: Favorite traditional Christmas Carol?

BEN FRIESEN: I love Mary Did You Know—the original carol already went surprisingly hard, but Pentatonix turned it into a certified bop.

JHPENTERTAINMENT: Which do you think would keep you more in line…Elf on the Shelf or Krampus?

BEN FRIESEN: Something about the Elf on a Shelf’s beady little eyes say, “I know what you did”, which sends me into a spiral of, “What did I do this time?”—since Krampus is a physical threat, I feel like I could probably Home Alone-style defend myself against him if that situation arose.

JHPENTERTAINMENT: Favorite Christmas Memory?

BEN FRIESEN: Throughout my childhood, my siblings and I were huge Lego fans (still are). Each year, we would often ask for one larger Lego set as our main gift, and our parents would save that for last—that way, when we tore open the wrapping paper, we would all immediately run downstairs and spend the next hour or two building our new sets together in our matching Christmas PJs.

RAPID FIRE Q&A WITH A CHRISTMAS CAROL’s GHOST OF CHRISTMAS PRESENT, BRIAN CHARLES ROONEY

JHPENTERTAINMENT: Among your roles in Nashville Rep’s A Christmas Carol, you play The Ghost of Christmas Present. What’s the most fun aspect of that character?

BRIAN CHARLES ROONEY: I love the idea that he ages over the course of 24 hours! There is a lot of fun to be mined in creating that idea, subtly, via voice pitch and tone, as well as via my movement as the character. I also love working in the costume at the designers created for this character. It’s grand, it’s beautiful, and it’s actually fun to wear!  But I think my favorite aspect of this character is his determined commitment to optimism, hope, and love.  He really does root for Scrooge; and he delights in seeing Scrooge find some happiness.

JHPENTERTAINMENT: A Charlie Brown Christmas or The Grinch Who Stole Christmas?

BRIAN CHARLES ROONEY: Definitely The Grinch!!!  I’m partial to anything campy, but what I love about The Grinch is that despite the comedic aspects of the story, the tale is unapologetically woven around the idea that love conquers hate.

JHPENTERTAINMENT: Which pop Christmas tune is superior? Mariah’s All I Want for Christmas is You or Wham’s Last Christmas?

BRIAN CHARLES ROONEY: I think Mariah’s song is better written, but I will always love George Michael’s voice. Though, my friends and I play a game each year, that involves seeing which of us can avoid hearing Last Christmas before Christmas Eve. It only works if we all commit to the honor system of the game, but I almost won last year! They were only two of us left, but I heard it in Sprouts!!

JHPENTERTAINMENT: Crazy Christmas Sweater or Cozy Christmas pjs?

BRIAN CHARLES ROONEY: Definitely the PJ’s!!!

JHPENTERTAINMENT: Favorite Christmas memory?

BRIAN CHARLES ROONEY: My favorite Christmas memory, at least, from when I was a child, was the year I received a letter from Santa, on parchment paper, wrapped in a red velvet bow. It was such a wonderful, exciting, heartwarming experience! “He” had left it for me near the plate of cookies we’d left out the night before. I don’t think I’ll ever forget that morning and receiving that letter!

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With that the director and ghosts of Nashville Repertory’s A Christmas Carol vanished as if Ole Scrooge’s clock had struck its morning bell, but you can find them and the rest of the cast of this seasonal favorite on stage at TPAC’s James K. Polk Theatre beginning Friday, December 1 and continuing through Sunday, December 17. CLICK HERE for tickets or more information. Following a brief break in the new year, Nashville Repertory Theatre will present Paula Vogel’s Indecent on stage at TPAC’s Andrew Johnson Theatre as The Rep’s 2023/2024 season continues. CLICK HERE for tickets to this powerful play. In the meantime, check out Nashville Rep online HERE and follow them on Facebook,  Twitter,  YouTube and Instagram.

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 20Q with cast of Nashville Rep’s ‘9 to 5: the Musical’; onstage at TPAC’s Polk Theatre September 8-17

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Alright, Y’all KNOW I’m obsessed with any and all things Dolly Parton, so when I heard that Nashville Repertory Theatre was presenting 9 to 5: the Musical, based on Dolly’s 1980 film and featuring songs written by Dolly, I knew I’d have to chat with some of the show’s stars for one of my Rapid Fire 20Q interview features. What follows are my conversations with Megan Murphy Chambers, Allyson A. Robinson, Mariah Parris and Geoffrey Davin.

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Rapid Fire 20Q with cast of Nashville Repertory Theatre’s 9 to 5: the Musical

Rapid Fire with Megan Murphy Chambers, Doralee in 9 to 5

JHPENTERTAINMENT: You‘ve played Dolly’s Steel Magnolias role of Truvy on stage and now you’re appearing in Nashville Rep’s 9 to 5 as Doralee, another Dolly film role. Are there similarities between the two characters?

MEGAN MURPHY CHAMBERS: Definitely!  Dolly herself radiates such tremendous sparkle, humor, and humanity, it’s nearly impossible to separate her from her more iconic characters.  So not only was she beautifully suited for the roles and their accompanying words on the page, but she imbued them with such a unique style and appeal, you can’t help but find similarities.  Being cast in these two parts has been such a joy and honor, particularly if it means that anyone draws even the smallest similarity between me and Ms Parton herself.  

JHPENTERTAINMENT: Not only are you two-for-two with Dolly’s iconic roles, you’re also two-for-two with Beki Baker, who directed you in Steel Magnolias for Studio Tenn and is now directing Nashville Rep’s 9 to 5. What’s an aspect of Beki’s directorial style that you appreciate?

MEGAN MURPHY CHAMBERS: How many words am I allowed?  🙂  Beki is such a gift in the room – so enthusiastic, so prepared, so supportive, such an easy leader to follow.  I love the way she comes in with a clear plan and lots of problems solved before we even encounter them, which leaves her designers and performers so much room to play and take big swings.  Beki values the product AND the process, and every minute of it has been a delight and an inspiration!

JHPENTERTAINMENT: If you were to exact revenge on a chauvinistic boss, which of the tactics from 9 to 5 would you likely choose? Or have you thought up your own revenge scheme?

MEGAN MURPHY CHAMBERS: This is my favorite question ever, and I’d like to dedicate it to a former supervisor who shall remain nameless.  It would be delightful to brand his ass, Doralee style, and that thought alone will keep me boosted up as we slog through the last of tech.

JHPENTERTAINMENT: I often use the phrase “Only in Nashville”. Earlier this week Nashville Rep posted an “Only in Nashville” type post when Dolly herself sent a video message to the cast and crew of 9 to 5. In the message she not only drops the possibility that she might attend a performance, but also mentions that Gregg Perry, who arranged and associate produced (an apparently provided the iconic opening typewriter sounds) for the original recording of 9 to 5 is part of this production’s orchestra, music directed by Randy Craft. How’s it been working with Randy on this show, and do you have a favorite musical moment?

MEGAN MURPHY CHAMBERS: I LOVE Randy, and the show is sounding absolutely incredible.  I look forward to singing the end of Change It every night, and look forward to hearing Heart to Hart even more.  But nothing gets my blood moving more than the end of the opening number, 9 to 5, when everyone is finally onstage and singing together. Iconic!!!

JHPENTERTAINMENT: As mentioned earlier…Truvy…CHECK! Doralee…CHECK! So, any plans or hopes of playing Miss Mona in Best Little Whorehouse in Texas? Until then, what’s next for you following 9 to 5?

MEGAN MURPHY CHAMBERS: I was literally just talking to someone about my Miss Mona dreams just the other day, so SIGN ME UP.  In the meantime, I have a season lined up that I’m so eager to tackle – I’m heading to Nashville Children’s Theater next to play Mrs. Gloop in Charlie and the Chocolate Factory and Foofinella in The Gingerbread Kid, after which I’m heading south to play Sally Bowles in Cabaret at Studio Tenn!

Rapid Fire with Allyson A. Robinson, Violet in 9 to 5

JHPENTERTAINMENT: If my research in preparing to chat with you proves correct, having a lifelong history of performing from an early age, you’re a Detroit native whose passion for the arts really took wing during recent years in Atlanta, is that right?

ALLYSON A. ROBINSON: It is! I was born and raised in church, which meant that I was doing all the plays and cantatas. My family is also full of musicians so it wasn’t hard to get into the same flow and onto the same path they’d been carving for years. But the full transition into performing didn’t come until high school, when it was brought to my attention that I could sing classical music and opera. So I stepped into that and it took off from there! Went to Kentucky State University for music and then attended the University of Kentucky for a few years. During my first year there, I discovered I had nodules and a month after that my dad passed away. So I was dealing with a lot of identity issues because singing was who I was, but my relationship with it was more for the benefits of being well known and praised, not for the passion of performing. So I stepped away from music for a decade. I became a teacher and taught here in the states and then in Abu Dhabi, and then once we returned back to the states, I became a set teacher for kids in TV/Movies. Watching all the actors and actresses perform on camera awakened something inside of me and I wanted to take advantage of that feeling. I started taking acting classes and book a few short films, got an agent, and then booked a role on a feature film as well! It felt so good to be back!

Then after moving to Nashville in July 2022, I started working at a tech company here in town, who happened to be putting on a Black History Month program. Randomly during lunch, a short clip of a voice recording of my singing started to play because I hit the wrong button. Erika, who was in charge of the program, happened to be sitting next to me. She looked at me and said “I didn’t know you could sing! You’ll sing for our program!” So I was volun-told. I called my friend Ron, who’s an amazing voice teacher and performer from graduate school and told him what happened. So we decided to start up some lessons to prepare for the program, and I discovered that my voice was in pretty good shape! After the program, I told him that I wanted to continue singing and finding opportunities in the area if I could. 

JHPENTERTAINMENT: I understand 9 to 5 marks your Nashville Rep debut. How did landing the role of Violet Newstead come about?

ALLYSON A. ROBINSON: So after doing the program with my job, I realized that I wanted to keep this momentum going. I was loving where my voice was, I had fallen back in love with performing, and I didn’t want to lose it. So my friend and I started to research things happening in the area and came across Nashville Rep’s audition season. I was terrified because I hadn’t done this in over 10 years, but I was willing to just go in and get an audition under my belt, and have fun doing it. So we prepped my music and I already have some monologues from doing auditions. I went into the audition room with no expectations of booking anything. I just wanted to go in and say I did it after so long. Prove to myself that I could still do it after all this time. 

A few weeks later, I received three emails for callbacks, one of them being Violet. My mind was BLOWN. 

I took some time, looked through the music and the scenes and just had fun building this character. I was in this to have fun, not prove anything to anyone but myself. We had a dance call first, which I was freaking out about because I’m 34, a mom of twins, and had just started to build a workout routine. I didn’t feel as if I was in ANY shape to get up and dance. And add onto that of course, that I hadn’t done this in 10 years. BUT I made it through!

When we got to the scenes, I was excited to simply work with the others in the room. Nashville is full of so many talented artists and being new the scene, I was interested in meeting and experiencing their talents… and I was blown away. There are so many talented artists here in Nashville, and they’re triple threats! Dancers, singers, and actors, and some of them have even more in their toolbox than that!

When I made it through cuts, I was in complete shock. They had chosen only three people to move forward for my role, and my name was the last one they called. 

When I left the auditions, I smiled. I cried. I had so much fun and in reality, I wasn’t expecting much…and then I was at work and my phone rang. Ms. Yolanda Treece from Nashville Rep asked if I was sitting down. When she let me know that they wanted to offer me the role of Violet, I jumped out of my seat and just cried. I’m crying typing this story out all over again! It was hands down, one of the best days of my life. It was such a beautiful surprise and I am forever grateful to Beki Baker for this opportunity, 

JHPENTERTAINMENT: As Violet, you share a few scenes with one of Nashville theatre community’s rising young stars, Jalen Walker, who plays Violet’s son, Josh. A mother of twins in real life, has your maternal instinct benefitted your working relationship with Jalen?

ALLYSON A. ROBINSON: Oh absolutely! My maternal instincts kick in whenever there is someone under the age of 18 around. Honestly, it never really shuts off! But when I first met Jalen, he and I were excited because of how much we actually look alike! (Shoutout to Beki for her phenomenal casting). There have been times on set that he’s practiced skateboarding and my eyes are immediately latched onto him to make sure he doesn’t fall. When he comes to rehearsal from school, one of my first three questions is “How was school?”. 

Being a former set teacher, it adds another layer of a protection and a care for any minor whose a performer. They are some of the most courageous artists because they have to balance school and being a performer, while also trying to have a social life and deal with raging hormones all at the same time. I admire him for the amazing work he’s doing with the show and outside of here. He’s definitely one to watch.

JHPENTERTAINMENT: If you hadn’t been cast as Violet, what other 9 to 5 role might you enjoy playing?

ALLYSON A. ROBINSON: Roz, hands down. Roz is a complex, but incredible character built to weave such an amazing element of joy and entertainment throughout the show and it’s such a breath of fresh air. But there’s no way I could replace the incomparable Evelyn O’Neal in our show as Roz. She is one of the most talented artists I’ve had the pleasure of meeting and working with. Her songs and scenes are consistently getting funnier and funnier. I can’t wait for the Nashville and beyond to experience her on stage in this show.

JHPENTERTAINMENT: I’m just gonna be honest, when I first saw the film version of 9 to 5 back in 1980 (yes, I’m that old) the themes of workplace inequality were lost on my teenage mind. Is there a scene in the stage musical or even a passing line of dialogue that addresses that theme that you hope audience pay particular attention to?

ALLYSON A. ROBINSON: The last scene of 9 to 5 is such a powerful scene. My character Violet takes the time to call out the inequalities in the workplace between those at the top who take all the credit and the “little guy” who does all the work that those at the top take the credit for. This scene reveals the realities of the workplace that we are still dealing with today in 2023. I believe it’s a moment that the audience can take in at the end as a revelation that things in our current world still need to change and adjust because the “little guy” is still being stepped on for other to make their way to the top. I hope that during this scene, audience members feel seen and affirmed in their own “9-5” journey and experience in the workplace and will empower them to speak up be out against injustices they and their co-workers experience on a day to day basis. 

Rapid Fire with Mariah Parris, Judy in 9 to 5

JHPENTERTAINMENT: Before we get started, I just have to say how much I enjoyed you as Jen in Nashville Rep’s The Cake. How excited are you to get back at The Rep for 9 to 5?

MARIAH PARRIS: Thank you so much! That show was such a special experience. In fact, every time I’ve get the opportunity to work at The Rep I have an amazing time. It is not lost on me what a privilege it is to work here and I feel so lucky every time I get the call saying that I get to!

I was specifically excited to get the call for 9 to 5 because I have admired Beki Baker for years (over a decade at least?) and this is my first time getting to work with her as a director. She is an awesome human and an excellent leader.

JHPENTERTAINMENT: What is your favorite aspect of playing Judy Bernly?

MARIAH PARRIS: My favorite aspect of Judy Bernly is her courage. She really starts the show from such a broken place and surprises herself at so many points along the way that she is stronger and more capable than she ever realized. I think we can all relate to feeling scared and doing the scary thing anyway, and I really enjoy stepping into that energy.

JHPENTERTAINMENT: As Judy, you’re teamed with Megan Murphy Chambers and Allyson A Robinson. Describe your 9 to 5 cohorts using a single word each.

MARIAH PARRIS: Ooof this is hard. How to sum up such kaleidoscopic women? Allyson: Wisdom. Megan: Excellence. 

JHPENTERTAINMENT: I’m totally an attention to details kind of guy, so…The show takes place in an office setting during the late 70s/early 80s. With a set designed by Gary Hoff and props from Lauren Yawn-Kell, is there something about the set or a particularly period-authentic prop that you’re just really into?

MARIAH PARRIS: Gary Hoff is a genius and every set he touches is magical. This is my first time working with Lauren and she has absolutely crushed it.

For me it’s the set color scheme: avocado, harvest gold, and….more avocado. My favorite props are probably all the made up accolades adorning Franklin Hart’s office bookshelf… they are hilarious.   

JHPENTERTAINMENT: Long after the tap tap tap of the typewriter from the show’s title tune is just a distant memory, what do you hope audiences will remember about this production of 9 to 5?

MARIAH PARRIS: I hope this show inspires the audience to consider the dynamics in their own lives- be it home, workplace, or otherwise- and consider where people are perhaps being held back from their fullest potential because of outside forces keeping them down. I hope people consider how they can be less of a hindrance or more of a help to others finding their own ways to shine.

Rapid Fire with Geoff Davin, Mr. Hart in 9 to 5

JHPENTERTAINMENT: What can you tell me about Mr. Hart, as far as your perception of the character?

GEOFF DAVIN: Well, Mr. Hart has been a challenge. Of course you never want to villainize a villain when you’re playing the antagonist. Your goal is always to empathize with them and try to see how they’re right. But gosh, Mr. Hart makes it awfully hard. He’s just such a deliciously sleazy fellow. He always says the most terrible things with absolutely no concept of how terrible his comments are. And he’s his own greatest fan. 

JHPENTERTAINMENT: Mr. Hart is the show’s villain. How much fun are you having playing the baddie opposite your three leading ladies?

GEOFF DAVIN: I’m having an absolute blast. I couldn’t have asked for a more gracious, talented, fun, and giving trio of power houses to play opposite of on stage. 

JHPENTERTAINMENT: Even the chauvinistic Mr. Hart has his admirers. What is one aspect of Mr. Hart’s character that you see as possibly redeemable?

GEOFF DAVIN: Well Violet says that she’s never seen someone leap frog to the top as quickly as he has. So he’s certainly tenacious and wildly driven. 

JHPENTERTAINMENT: With 9 to 5 being set in the late 70s/early 80s, I’m guessing Mr. Hart’s wardrobe, as envisioned by costumer Lori Gann-Smith, might consist primarily of leisure suits. They say all fashion is cyclical. Is it time for the return of the leisure suit, and do you think you could rock it off stage?

GEOFF DAVIN: I would 100% wear my opening suit it in real life. 

JHPENTERTAINMENT: There’s long been talk of a 9 to 5 sequel, at least for the original film adaptation. If there were a sequel, where do you see Mr. Hart in the future?

GEOFF DAVIN: I think Mr. Hart stayed on the island. He now works for the Amazonians, harvesting coffee beans. They’ve even given him a little nickname. I’m not sure how to write it in their language. But it roughly translates to “skinny and sweet”. 

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Nashville Repertory Theatre’s 9 to 5: the Musical plays TPAC’s Polk Theatre September 8 through 17 with Friday and Saturday evening performances at 7:30p.m. and Saturday and Sunday matinees at 2p.m. CLICK HERE for tickets or more information. Following 9 to 5, Nashville Repertory Theatre rings in the holidays with A Christmas Carol onstage at TPAC’s Polk Theatre from December 1-17. CLICK HERE for tickets or more information.

In the meantime, check out Nashville Rep online HERE and follow them on Facebook,  Twitter,  YouTube and Instagram.

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 20 Q with cast of Nashville Rep’s ‘The Curious Incident of the Dog in the Night-Time’ on stage at TPAC’s Johnson Theatre thru April 2

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Directed by Micah-Shane Brewer, Nashville Repertory Theatre’s inspired and inspiring production of The Curious Incident of the Dog in the Night-Time moves into its second and final week with performances Friday, March 31 at 7:30p.m., Saturday, April 1 at 2p.m. and 7:30p.m. and Sunday, April 2 at 2:00p.m. at TPAC’s Johnson Theatre, I recently had the opportunity to chat with four the company’s incredible cast members for the latest installment of my recurring interview feature, Rapid Fire 20Q. Kindly taking time out of their performance schedules for these conversations are Lauren Berst, Nat McIntyre, Eric D. Pasto-Crosby and JR Robles. Berst and McIntyre play Judy and Ed Boone, parents of 15 year-old Christopher Boone, a young autistic math wiz who finds himself at the center of the titular mystery. Pasto-Crosby and JR Robles play a multitude of townsfolk who meet young Christopher along his journey. What follows are my conversations with the cast.

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RAPID FIRE 20Q WITH CAST MEMBERS OF THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME

RAPID FIRE WITH THE CURIOUS INCIDENT’s NAT MCINTYRE

JHPENTERTAINMENT: You’re no stranger to Nashville Rep, having appeared in Good Monsters and Shakespeare in Love and having directed their production of A Streetcar Named Desire. What keeps brining your back to the company?

NAT McINTYRE: Since moving to Nashville, starting a family, and taking a full time professorship at Lipscomb I have had to be more intentional with the work I choose.  It’s very important to me that the work challenges and excites me and audiences.  The Rep has been doing that work.

JHPENTERTAINMENT: What can you tell me about Ed Boone?

NAT McINTYRE: He’s trying really hard

JHPENTERTAINMENT: I understand you had read Mark Haddon’s novel upon which the play is based. What’s most surprising about the way the story has been brought to the stage?

NAT McINTYRE: I read the book so long ago.  I mostly was surprised they would try to make it into a play because I thought it would be REALLY hard.  But, it turns out Simon Stephens and bunch of curious artists that don’t take themselves too seriously make it possible.

JHPENTERTAINMENT: In preparation of our chat, I discovered among your many credits, you appeared in a season 2 episode of Devious Maids, playing a police officer. Just gonna say it. I loved that series. Bringing the question back to Curious Incident…What’s an advantage of performing in theatre as opposed to film or television?

NAT McINTYRE: Film and TV is fun.  It also pays a lot of money.  But nothing can replace the pulse and breath of a live audience.  The best actors let them be an extra character in the play I think.

JHPENTERTAINMENT: How has your experience been working with Curious Incident director, Micah-Shane Brewer?

NAT McINTYRE: This play is hard. I had never worked with Micah-Shane.  I was nervous ;).  But, that dude has stepped up big time. He is a prepared artist who makes room for his actors, doesn’t need to have all the answers, and does not take himself too seriously.

RAPID FIRE WITH THE CURIOUS INCIDENT’s LAUREN BERST

JHPENTERTAINMENT: Last time I saw you onstage, you had invited me to attend a performance of Nashville Story Garden’s thought-provoking production of The Welkin. Now you’re playing Judy Boone in Nashville Rep’s The Curious Incident of the Dog in the Night-Time. Two vastly different shows, but with the common thread of drama. Do you find yourself typically drawn towards more dramatic roles?

LAUREN BERST: Thank you for supporting and promoting Nashville theater, Jonathan! I love comedy and drama equally and am jazzed by the challenges they each present. I am primarily lured to the story being told rather than the genre so if that’s in a comedy or drama, I want to go on the journey. For the The Welkin, we were compelled to tell that story, and getting to tell it with 12 amazing women on stage with me was a huge draw. For Curious Incident, I loved the book and the play and was excited about the idea of exploring the story as an ensemble. The opportunity to return to Nashville Rep was an added bonus so I jumped at the chance. I am grateful to get to do this show with this wonderful group of people.

JHPENTERTAINMENT: What is it about Judy Boone that attracted you to the role?

LAUREN BERST: I love Judy. And what’s interesting about this play is that most of what we learn about the characters comes from Christopher’s vantage point so finding a through line or heart of a character is a fun challenge. I enjoy finding the sweet, strong, rule-breaking parts of her and expanding or contracting from there. She is an ill-equipped force to be reckoned with.

JHPENTERTAINMENT: You mention the character of Christopher, which leads to my next question…How has it been sharing scenes with Ben Friesen, who’s at the center of the action playing young Christopher Boone?

LAUREN BERST: It’s wonderful to work with Ben. Ben is a champ! His exploration of Christopher is open, honest, and spot on. He’s a great collaborator. This show is a lot of responsibility and he handles it with confidence and excitement which is a testament to his ability. And his eagerness is infectious. Ben has created a well-rounded, and heart-wrenching character. Audiences will be rooting for Christopher.

JHPENTERTAINMENT: Also at the center of the story is the titular dog. You yourself are a pet-owner, so I gotta ask…how’s Ms. Roxie? AND…I’ve seen a few rehearsal posts giving a first look at the puppy involved in the show. Has that pup become everyone’s emotional support dog, considering the seriousness of the piece?

LAUREN BERST: Oh thank you for asking about THE MOST important parts of my life and this play! First of all, Roxie is the spoiled rotten dachshund I adopted six years ago and she’s amazing. In fact, she is curled next to me as I type this so any spelling or grammar errors can be blamed on her.

Scottie, the sweet puppy in the play, (the *actual* star of the play – don’t worry Ben thinks so too) is precious, smart and adorable. When she comes into the room everyone melts a little bit, our shoulders relax, our dopamine and serotonin levels skyrocket. I have to sit on my hands sometimes because it’s all I can do not to put her in my bag and take her home with me. And I’m not exaggerating. You’ll see. She’s too cute. It is impossible that something so cute exists in real life.

JHPENTERTAINMENT: I’ve seen a few behind-the-scenes images of the set, designed by Cody Stockstill with lighting by Darren Levin and sound by Gregg Perry. What has impressed you most about the way the creative team has brought this production to Nashville Rep’s intimate stage at TPAC’s Johnson Theater?

LAUREN BERST: What HASN’T impressed me?! The creative team has pulled out all of the stops to make this show an intimate spectacle in the Johnson Theater. Cody, Darren, and Gregg tell this story in ways that go beyond the script. They have designed, composed, and programmed each moment of this play to enhance the story telling, conjure a little magic, and help us get a peek into Christopher’s mind. And they’re so dang good at what they do. It would be a very different play without their designs. I’m excited for audiences to experience the world they’ve created.

RAPID FIRE WITH THE CURIOUS INCIDENT’s ERIC D. PASTO-CROSBY

JHPENTERTAINMENT: As a member of the ensemble of Curious Incident, you take on a multitude of roles. What’s the most fun aspect of this as opposed to portraying a singular character?

ERIC D. PASTO-CROSBY: I thoroughly enjoy coming up with fully realized characters, and I get to do that for about six different people in the show. Both how they move how they talk how they interact with people. And also structuring just how they interact with the plot, do they influence the main characters for good things or bad things that’s always just a fun fantastic journey that we get to go on. If I’m being really honest, it’s the multiple different accents that I get to do for the show.

JHPENTERTAINMENT: On the flip side, what’s most challenging about playing more than one character in a piece?

ERIC D. PASTO-CROSBY: I would say the most challenging aspect of playing multiple characters is figuring out how they are different, but not distracting. It’s very easy to come up with different characters but sometimes those characters don’t work with the world of the play or help tell the story as well as other choices would. So making sure that you make the choices that helped tell this version of curious incident is the most important.

JHPENTERTAINMENT: Who all do you play in Curious Incident?

ERIC D. PASTO-CROSBY: I play Roger Shears, the Duty Sergeant, Mr. Wise, man behind counter and Voice two.

JHPENTERTAINMENT: Of your Curious Incident roles, do you have a particular favorite?

ERIC D. PASTO-CROSBY: It’s kind of a tie between Roger Shears and the Duty sSergeant. Roger Shears is pretty despicable and gross, which is kind of fun to play. I know that probably sounds wrong. But the Duty Sergeant is probably one of my favorite accents and characterizations, since he’s honestly stolen from a Guy Ritchie movie.

JHPENTERTAINMENT: In addition to your onstage duties, you’re also the show’s fight choreographer. You’re a member of the Society of American Fight Directors. What can you tell me about that organization and how you became involved in the art of fight choreography?

ERIC D. PASTO-CROSBY: yYou can join the SAFD by paying membership. It is a training organization that brings everyone up to speed on how to safely perform fights on stage. I thoroughly enjoy multiple aspects of this organization. I love what they have done to bring safety and realism to violent moments on stage. If you are looking for training there are  workshops, I will be teaching at the A Town Throwdown in Atlanta. The society has a workshop every other month all over the US for you to train in multiple weapon disciplines for three or two days.

RAPID FIRE WITH THE CURIOUS INCIDENT’s JR ROBLE

JHPENTERTAINMENT: I understand this is your first time working with Nashville Rep. How’s the experience been thus far?

JR ROBLES: I’ve had a blast! I’ve always wanted to do a show with Nashville Rep. This experience has been so gratifying and revelatory for me. I’ve had a chance to make some great new friends and work on an important piece of theatre with some of the most talented people around. In that process, I think I’ve grown a lot in my own artistic practices, and I’m so grateful for that. It’s been really challenging too—there’s a lot of movement and physicality in the show, and I’ve had to reactivate some of my choreography and dance training to remember how to do that. Mostly, I’ve felt so happy coming to work every day because I get to be part of this wonderful story with some amazing artists. It’s been wonderful.

JHPENTERTAINMENT: Prior to our chat, I spoke with Eric Pasto-Crosby. Like Eric, you’re also playing numerous roles within the show. What roles are you playing?

JR ROBLES: So, I’m playing Voice Three, which includes a couple of policemen, a salty train passenger, a drunk train passenger (different guy), and Mr. Thompson, who is an oddball neighbor of Christopher’s (the play’s main character). Aside from that, I get to be a part of constructing the world of Christopher’s memory and mind where the play takes place. I really have fun with these kinds of roles because I can step into different people in different scenes, which is such a fun challenge. Much of that work, by the way, has been aided by Katie Cunningham, our dialects and accents coach. She’s worked very closely with us as we’ve made choices about these characters and giving them very specific voices that help color the world of Swindon and London that Christopher explores.

JHPENTERTAINMENT: Is there a particular scene you’re involved in that you find most challenging?

JR ROBLES: Overall what has affected me most, and maybe what I love most about the play, is the very true-to-life depiction of how complicated family dynamics can be when there are flawed human beings trying to do their very best for themselves and each other in their lives. In general, the scenes I’m featured in are fun and help move the story along to get to the places where the challenging stuff in the play really is. The very dynamic relationships between Christopher, Ed, and Judy, and Christopher and Siobhan are the ones I think about the most. And most of those scenes I just get to sit and watch Ben, Nat, Lauren, and Sejal work magic on stage.

JHPENTERTAINMENT: What’s the most fun role you’re portraying and why?

JR ROBLES: I have the most fun with Mr. Thompson, the goofy neighbor Cristopher interacts with in Act 1. I’ve gone through about 7 different iterations of this guy, trying to figure out where he came from, what accents he has, what he is up to when he’s not in the play, and even what kind of glasses he wears. Honorable mention goes to a character called “Drunk 2” (Eric Pasto-Crosby is Drunk 1) who literally has two drunken lines of dialogue. Each rehearsal so far, Eric and I have tried to out-drunk each other, and it gets crazier every time.

JHPENTERTAINMENT: So much of the show seems to encourage audiences to step out of their comfort zone and take time to consider what life must be like for the central character. Do you think that’s a fair assessment? AND…what other themes of the show have you found yourself contemplating during this process?

JR ROBLES: Yes, I think that’s an appropriate way to frame the experience of the play and also the vision that Micah-Shane has for the show. From the beginning, Micah-Shane has shared with us the idea that when we are performing the show, we are welcoming the audience into the mind of Christopher and, as much as possible, creating for the audience a unique world of what Christopher’s experience is like. I hope that people who come to the show will appreciate the efforts we’ve made to celebrate Christopher’s curiosity, bravery, and desire to lead the life he wants. I think the theme that resonates with me even more is the importance of personal growth. I love how the play presents that not just with Christopher, but also with Ed and Judy. Each of these characters has their own journey that is really powerful and complicated. And where they end up is so poignant and true to life.

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Nashville Repertory Theatre’s The Curious Incident of the Dog in the Night-Time continues with performances at TPAC’s Johnson Theatre thru Sunday, April 2. CLICK HERE for tickets. Next up for The Rep as they close out their 2022/2023 Season it’s Violet with Book and Lyrics by Brian Crawley and Music by Jeanine Tesori, on stage at TPAC’s Johnson Theatre May 12-21. CLICK HERE for tickets or more information.

In the meantime, check out Nashville Rep online HERE and follow them on Facebook,  Twitter,  YouTube and Instagram.

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!

Theatre Review: Nashville Rep’s production of ‘Every Brilliant Thing’ a thing of brilliance indeed; on stage at TPAC’s Johnson Theatre thru Sunday

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Straight off, I should apologize to anyone who sat near me earlier this week during Nashville Repertory Theatre’s invited dress rehearsal for their current limited-run presentation of Every Brilliant Thing directed by Lauren Shouse and starring the amazing Mark Cabus. I’m apologizing because I don’t think I’ve ever had a theatrical piece touch me in such a profound way. I was literally sobbing (thankfully, mostly inaudibly) with tears streaming down my face for a good portion of the show. 

Don’t get me wrong, I’m a big ole softie and I’ve cried at everything from seeing The Color Purple on stage for the very first time, to…well…Publix commercials, but there’s something about Cabus’ delivery, coupled with Shouse’s direction and the clever intimate staging that has the audience on all four sides of the action, thanks to several cocktail tables set up around three sides of the set.

Scenic designer Gary Hoff presents a stripped-down set consisting of little more than a few area rugs grouped together to form a larger square, a comfy leather chair, a side-table,  a couple crates of vintage vinyl, a record player and an ottoman. In addition to the cocktail tables and chairs for some audience members, there’s also a few chairs and tables set up to the left and right of the traditional theatre seating.

Director Shouse wisely moves Cabus throughout the audience, both those seated near him at the tables as well as those seated in the rows of stacked theatre seats. This movement amongst the audience aides in pulling them into the feel of the story. Also aiding in the involvement of the audience, prior to the play’s start, Stouse greeted audience members as she passed out seemingly random objects like a balloon, a pack of cigarettes, a soda pop or a book and instructed the audience to listen for the number attached to the object and to simply read aloud the accompanying phrase when that number was called out.

As Cabus, the story’s narrator, takes to the stage, he begins telling the story of a young boy whose mother had attempted suicide, or as the boy’s father referred to the incident…she did a ’stupid thing’. As a young boy, and not quite able to fully comprehend the gravity of his mother’s actions, the boy decides to begin a list, a list of Every Brilliant Thing that might be reason enough not to do such a stupid thing. As Cabus reads the list, he frequently calls out a number from the list. It’s at that time the audience member who has the corresponding object with that number on it, reads aloud that particular entry. Further involving the audience, occasionally throughout the play, Cabus also calls upon random audience members to act as various characters throughout the narrator’s life, a veterinarian, his father, a school psychologist and his first love to name a few. 

Perhaps it’s the simplicity of the entries, things as commonplace as seeing someone fall over, bubble wrap or, my personal favorite….the voice of Nina Simone, but mostly it’s Cabus’ remarkable talent and his ability to tell this tale as if it’s his own, while simultaneously reacting on the spot to the audience, and engaging everyone around him as he exposes the shared vulnerability in all of us. 

Broaching subject matter as varied and relatable as the death of a beloved pet to suicide, depression, first love, lost love and finding the beauty in the smallest of gestures and the grandest of happenings, Every Brilliant Thing is unlike anything I’ve ever seen. By play’s, when the narrator has kept the list going again and again just when he’s needed it throughout the trials and tribulations of everyday life, there’s a million things on the list. Suffice it to say, I’d like to add at least a few more…Nashville Rep,  director Lauren Shouse, star Mark Cabus and Every Brilliant Thing about this production of Every Brilliant Thing.

Following Wednesday afternoon’s inited final dress rehearsal, and last night’s preview performance, Nashville Rep’s Every Brilliant Thing continues its all-too-brief run at TPAC’s Johnson Theatre with performances Friday, November 8 at 7:30p.m., Saturday, November 9 at 2:30p.m. and 7:30p.m. and a final Sunday, November 10 matinee at 2:30p.m. Tickets range in price from $25 to $45. CLICK HERE to purchase tickets or for more information.

Up next at Nashville Rep is Patrick Barlow‘s A Christmas Carol playing November 30-December 22. Check out Nashville Rep online HERE and follow them on Facebook 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.

Rapid Fire 20 Q with cast of Nashville Rep’s ‘Shakespeare in Love’ onstage at TPAC’s Johnson Theatre thru April 13

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Directed by René Copeland, Shakespeare in Love is making its Nashville stage debut as Nashville Repertory Theatre’s current offering. Adapted for the stage by Lee Hall and based on the screenplay by Tom Stoppard and Marc Norman, it’s been 20 years since the Gwyneth Paltrow/Joseph Fiennes/Geoffrey Rush film premiere. I remember enjoying the movie, but considering the time that has passed since I’ve seen it and the fact that I’ve never seen the stage version…full confession: I had no idea it even existed…I had to get the low-down on. When I found out one of my absolute “theatre crushes”, Jennifer Whitcomb-Oliva was cast as Queen Elizabeth 1 for The Rep’s mounting, alongside Rep newcomers Joe Leitess as Will Shakespeare, Cailen Fu as Viola and Sewanee professor, James Crawford as Henslowe, as well as local theatre favorite, David Wilkerson, who’s not only cast as Tilney, but also serving as the show’s fight choreographer, I knew this group would result in a fun-filled Rapid Fire 20 Q, and by Bard, I was right.

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RAPID FIRE WITH SHAKESPEARE IN LOVE’S JENNIFER WHITCOMB-OLIVA

JHP: You’re playing Queen Elizabeth 1, so tell me…is it really true what they say? IS it good to be the Queen?

JENNIFER WHITCOMB-OLIVA: It’s soooo good! Big dresses, royal treatment, bowing, parties! Queen Elizabeth was quite the woman. She’s a total rockstar! I’m really enjoying portraying her.

JHP: From what I know, this is your sixth time to appear onstage at Nashville Rep. What keeps you coming back?

JENNIFER WHITCOMB-OLIVA: Nashville Rep continues to bring in theatrical gems. The plays are always so engaging, and full of wonderful surprises. I am so challenged each time from production to production. I am grateful for each opportunity I get, to play something meaningful and outside of the box. I strive to play roles and characters that are beyond the norm.

JHP: Alright, you’ve already mentioned the big dresses…I LOVE the publicity photo of you all done up in QE1 drag. What can you tell me about the gorgeous wigs and the costumes designed by Lori Gann-Smith for Shakespeare in Love?

JENNIFER WHITCOMB-OLIVA: I can tell you to brace yourself! Queen Elizabeth was not one to do casual. These costumes are absolutely gorgeous! They are big, colorful, decadent and exquisitely made. If you don’t ooo and aah, I don’t know how to help you. Also…being a redhead is fun!

JHP: With themes of love, marriage, equality, gender and even the creative life, Shakespeare in Love and Shakespeare’s own writings are just as vital now as when audiences were first exposed to them. Among the themes, which do you think rings most true, in relation to this work?

JENNIFER WHITCOMB-OLIVA: The creative life for sure. This play is truly about the life of the man. It’s about the actors and the world they live in. It’s such a lovely view into the fantastical world of theatre, and why we all fall in love with it over and over again.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S CAILEN FU

JHP: In Shakespeare’s time, it wasn’t unusual for male actors to portray female roles. In a bit of a gender flip, as Viola de Lesseps, you spend part of your time on stage in disguise in male drag. While there’s a large element of comedy, in that the audience is in on the gag, how did you prepare for the duality of the role(s)?

CAILEN FU: My approach to Viola’s disguise is completely based on her idea of what it means to “be an actor.” In Shakespeare’s time, like you said, only men could be actors, so I tried to draw from the men who she would have been influenced or surrounded by for most of her life. This meant looking to her father, the men she met at court and mostly, the actors she saw on stage. While technically she IS going into male drag, I’m making the effort to go more in the direction that she is completely the same person, but she’s just seeing the world and it’s circumstances through a different pair of eyes.

JHP: Speaking of research, have you ever been to Play Dance Bar on a Thursday night for their Drag Kings show? If not, do you think that might be the perfect cast outing?

CAILEN FU: I have not but I think we’d all have a bunch of fun!

JHP: I understand this marks your Nashville Rep debut. What’s the experience been like so far?

CAILEN FU: Yes, this is my Nashville debut! I am having a blast. The entire company of Shakespeare in Love has been so welcoming and lovely. I am loving my time here!

JHP: Shakespeare in Love is of course filled with nods to Romeo and Juliet, as well as many of The Bard’s other works. Do you have a favorite reference included in the play?

CAILEN FU: Oh my, there are so many references! I don’t think I have favorite but I really love how each reference is cleverly woven into the script.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S JOE LEITESS

JHP: You’re playing Shakespeare opposite Cailen’s Viola. What’s the best aspect of having her as your leading lady?

JOE LEITESS: It’s hard to pick just one thing! I admire her ability to jump right into the work. In an abbreviated rehearsal process it can be daunting to tackle these huge scenes about love, loss, and grief- especially with someone you just met. Cailen’s bravery makes that work much easier and more rewarding.

JHP: When I spoke with Cailen, I mentioned her gender flip. Not to give too much away, but you also have a brief moment playing the opposite sex in Shakespeare in Love. What’s something about playing a woman, albeit, mostly for laughs, that you didn’t anticipate?

JOE LEITESS: I was surprised by the physical effect that clothing has- especially with Elizabethan costumes. Dresses, headwear, and footwear change the way you stand, breathe, speak, and relate to other people in space. Doubly so if you’re wearing a corset or something that restricts range of movement. My cast mates sing, play instruments, and dance their way through this play so gracefully while being cinched in- it’s very impressive. I was relieved to learn my brief gender-flip scene doesn’t include a corset.

JHP: Like Cailen, this show marks your Nashville Rep debut. Are you enjoying it so far?

JOE LEITESS: I love it. Our director René Copeland, the cast, crew, and design team are delightful people who do beautiful work.

JHP: I also asked Cailen about the many references and winks to multiple Shakespeare plays within the dialogue and subplots of Shakespeare In Love, so I’ll ask you as well. What’s one nod to The Bard within this work that makes you smile every time it’s uttered?

JOE LEITESS:

Will: This is a dream.

Viola: Dreams are the children of an idle brain, begotten of vain fantasy which is as thin of substance as the air.

Will: …Did you really just say that?

 Of all the references and winks in the show, this one really feels like Will is stealing quotes from the people around him-a good trick for an aspiring writer. I imagine him going home and feverishly rewriting conversations from memory, trying to capture on the page what people say off the cuff.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S JAMES CRAWFORD

JHP: I understand you teach in the department of theatre and dance at Sewanee. How did being part of Nashville Rep’s Shakespeare in Love come about?

JAMES CRAWFORD: I just showed up at the Nashville Rep auditions last year, and I’m so happy that I’m getting to make my Nashville debut in Shakespeare in Love. I feel really lucky. Continuing to act makes me a better teacher, and teaching has made me a better actor.

JHP: Aside from the written word, I understand music plays a part in conveying the spirit of this play. What can you tell me about the inclusion of music in Shakespeare in Love?

JAMES CRAWFORD: Considering this play is not technically a musical, there’s a tremendous amount of live music in it, and it’s beautiful. The cast has over twenty people in it, and it turns out that a few of the actors are also amazingly talented musicians, each of whom plays several instruments. They create a really magical world that the rest of us get to play in.

JHP: You’re playing Philip Henslowe, the owner of The Rose Theatre, a character based in reality, as Henslowe’s The Rose was indeed the first public theatre to stage Shakespeare’s plays. Does portraying a historical figure affect the way you approach the character?

JAMES CRAWFORD: Because Henslowe’s a real person, I did do some research about him. He left a diary that’s very important to people who study theatre history.  It’s full of facts about how much money he spent and how much money he earned, and all kinds of details about what it was like producing plays four hundred years ago. But there’s not a lot of personal information in the diary. Some historians think he was a very generous man, lending his actors money when they needed it, and others think he was more of a ruthless landlord. My job is to honor the version of Henslowe that the writers of Shakespeare in Love imagined.  And, lucky for me, he’s a very funny, delightful character.

JHP: You’re part of a fantastically talented cast, among them, Joel Diggs as Kit Marlowe, fresh off his incredible turn in Nashville Rep’s Topdog/Underdog. What can you tell me about sharing the stage with Joel and this company?

JAMES CRAWFORD: I got to see Joel in Topdog/Underdog the week before we started rehearsing together. It’s always thrilling to see someone make a wonderful leap like that, jumping from playing a bitter three card monte hustler to a wise Elizabethan playwright. As a newcomer to the Nashville theatre scene, I had a memorable experience on the first day of rehearsal. We read the play aloud, and I got to listen to all of these actors, most of whom I’d barely met. It was wonderful, discovering how many exceptionally talented actors are in this cast.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S DAVID WILKERSON

JHP: You’re playing Edmund Tilney, Master of the Revels. Am I dumbing it down to much to say he was the OG party planner?

DAVID WILKERSON: I guess you could say that. Although in the play, he’s a party planner who hates parties then, he’s the person in control of theatre in London and he HATES theatre and actors.

JHP: IF there’s a villain to this piece, you could say TIlney is it, for….SPOILER ALERT…he’s the one who finds out Viola is performing on stage in male drag. What’s the best part of playing Tilney?

DAVID WILKERSON: I always love playing characters who ask for big choices. Tilney is so stuffy and condescending and fun to play!

JHP: In addition to portraying Tilney, you’re also working behind the scenes as the show’s fight choreographer. How much rehearsal goes into fight choreography for a show like this?

DAVID WILKERSON: There is a LOT of fighting in this show. Not counting the slaps and face burnings and wrestling and all that, there are three sword fights. And they are completely different. One is a rehearsal fight, one is a bunch of actors playing, and one is a real life-and-death fight. And they all need to feel different. So we started day one. When you only have two and a half weeks before tech, you have to make the most of every moment.

JHP: Having the unique opportunity of working with the show’s director, René Copeland both on stage as an actor and behind the scenes as fight choreographer, what do you hope audiences take away with them after seeing The Rep’s Shakespeare in Love?

DAVID WILKERSON: Shakespeare in Love is joyous. I hope people come to laugh and cry and along the way realize that art and artists hold an important role in society.

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If you want to experience the joy that is Shakespeare in Love, you have several more chances remaining as performances continue thru Saturday, April 13. Wednesday and Thursday performances at 6:30p.m., Friday evenings at 7:30p.m. and Saturday matinee and evening performances at 2:30p.m. and 7:30p.m. CLICK HERE to purchase tickets or CLICK HERE for more information. Next week, on Thursday, April 4, Nashville Repertory Theatre will announce the coming 2019-2020 season at their 35th Season Reveal Party. Following Shakespeare in Love’s run, The Rep will host the company’s 4th Annual Broadway Brunch fundraising gala at City Winery on May 5. CLICK HERE for tickets.

To keep up with the latest from Nashville Rep, CLICK HERE, or follow them on Facebook, Instagram and Twitter.

If you’ve enjoyed this Rapid Fire, CLICK HERE to check out previous conversations with the who’s who of Nashville’s theatre scene.

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.